“Choices of aspect ratio or lens coverage or film type are not just things that impact how your prints look on the wall or in a book. They are the very structure of your mind when it meets the world with a camera.”
― To Photograph Is to Learn How to Die: An Essay with Digressions
― To Photograph Is to Learn How to Die: An Essay with Digressions
“There is relief in the recognition that we are not so solitary as we suppose ourselves to be. That someone else managed to acquire a vantage that is somehow sufficient. That the longing which seems (and is) so personal is also a shared experience, in significant ways. Shared at the very least with the photographer who made something of it.”
― To Photograph Is to Learn How to Die: An Essay with Digressions
― To Photograph Is to Learn How to Die: An Essay with Digressions
“The photographic enterprise of experimenting with and exploiting all these variables [camera, film, image format, lenses, etc] as a way of creating imaginative correspondences is really just a specialized or concentrated version of the way in which all people know the world in moment-to-moment experience.”
― To Photograph Is to Learn How to Die: An Essay with Digressions
― To Photograph Is to Learn How to Die: An Essay with Digressions
“Photographic seeing is an intentional way of continually discovering and rediscovering integrations of self and not-self. In a photograph, the mind of the maker is fleetingly apprehended.”
― To Photograph Is to Learn How to Die: An Essay with Digressions
― To Photograph Is to Learn How to Die: An Essay with Digressions
“Technical choices must be made with great care for your pictures, but even more importantly with the utmost respect for your separate self and your intelligence and the contents of your heart (which are - or should be - basically the same thing as your photographs).”
― To Photograph Is to Learn How to Die: An Essay with Digressions
― To Photograph Is to Learn How to Die: An Essay with Digressions
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