Walker Evans Quotes
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Stare, pry, listen, eavesdrop. Die knowing something. You are not here long.
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speaking in unknown languages, showing a disproportionate physical strength beyond one's natural capacity, the repulsion to sacred things, such as crucifix and prayers, and knowledge of events that have happened far away, in terms of times and places.
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In order to put meaning back into our lives, we should recognize illusions for what they are, and we should reach out and touch the fabric of reality.
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Somewhere in our search for reality we have passed something by, something important that we no longer find amid the bits and pieces of disassembled matter-something vital that we cannot build out of these parts. There is surely something else, some piece of divinity in us, something that was before the elements, and that owes no homage to the sun.
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Science has rolled its war wagons over the crushed myths of so many religious beliefs. It has marshaled its mechanics to explain the motions of the sun, moon, and stars. It has mapped the heavens, leaving no place for gods to live.
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Many photographers are apt to confuse color with noise, and to congratulate themselves when they have almost blown you down with screeching hues alone-a bebop of electric blues, furious reds, and poison greens.
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I'm sometimes called a 'documentary photographer' but... a man operating under that definition could take a sly pleasure in the disguise. Very often I'm doing one thing when I'm thought to be doing another.
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Documentary: That’s a sophisticated and misleading word. And not really clear… The term should be documentary style… You see, a document has use, whereas art is really useless.
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Color tends to corrupt photography and absolute color corrupts it absolutely. Consider the way color film usually renders blue sky, green foliage, lipstick red, and the kiddies' playsuit. These are four simple words which must be whispered: color photography is vulgar.
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What I believe is really good in the so-called documentary approach to photography is the addition of lyricism.[this quality] is usually produced unconsciously and even unintentionally and accidentally by the cameraman.
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Privilege, if you're very strict, is an immoral and unjust thing to have, but if you've got it you didn't choose to get it and you might as well use it. You're privileged to be at Yale, but you know you're under an obligation to repay what's been put into you.
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With the camera, it's all or nothing. You either get what you're after at once, or what you do has to be worthless. I don't think the essence of photography has the hand in it so much. The essence is done very quietly with a flash of the mind, and with a machine. I think too that photography is editing, editing after the taking. After knowing what to take, you have to do the editing.
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Whether he is an artist or not, the photographer is a joyous sensualist, for the simple reason that the eye traffics in feelings, not in thoughts.
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It is the way to educate your eye and more. Stare, pry, listen, eavesdrop.
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When you say documentary, you have to have a sophisticated ear to receive that word. It should be documentary style, because documentary is police photography of a scene and a murder ... that's a real document. You see, art is really useless, and a document has use. And therefore, art is never a document, but it can adopt that style. I do it. I'm called a documentary photographer. But that presupposes a quite subtle knowledge of this distinction.
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I work rather blindly. I have a theory that seems to work with me that some of the best things you ever do sort of come through you. You don't know where you get the impetus and response to what's before your eyes.
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Incidentally, part of a photographer’s gift should be with people. You can do some wonderful work if you know how to make people understand what you’re doing and feel all right about it, and you can do terrible work if you put them on the defense, which they all are at the beginning. You’ve got to take them off their defensive attitude and make them participate.
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It's easy to photograph light reflecting from a surface, the truly hard part is capturing the light in the air.
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Science has discovered much. The engineering is wonderful, epicycles and all. And yet, as we look at this vast, elaborate structure built on layer and layer of complex constituents, can we help but be reminded of the Land of Oz. Have we found the Emerald City? Is this what we were searching for? Is this the ultimate fabric of reality? Is this all there is?
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That’s my idea of what a portrait ought to be, anonymous and documentary and a straightforward picture of mankind.
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You see, a document has use, whereas art is really useless. Therefore art is never a document, although it can adopt that style.
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Detachment, lack of sentimentality, originality, a lot of things that sound rather empty. I know what they mean. Let's say, "visual impact" may not mean much to anybody. I could point it out though. I mean it's a quality that something has or does not have. Coherence. Well, some things are weak, some things are strong.
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It's too presumptuous and naïve to think you can change society by a photograph or anything else... I equate that with propaganda; I think that's a lower rank of purpose.
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Other people, so I have read, treasure memorable moments in their lives: the time one climbed the Parthenon at sunrise, the summer night one met a lonely girl in Central Park and achieved with her a sweet and natural relationship, as they say in books. I too once met a girl in Central Park, but it is not much to remember. What I remember is the time John Wayne killed three men with a carbine as he was falling to the dusty street in Stagecoach, and the time the kitten found Orson Welles in the doorway in The Third Man.