“While we can’t arrange the world with a camera, we have the ability to create significant associations between the things of the world and time in the photograph, and these purely pictorial correlations can help us to manifest and understand their ineffable counterparts of the within and the without.
The camera is all about creating relationships that are unreal (in that they never existed in the world) among things that are absolutely and recalcitrantly real. In fact that all it can do.”
― To Photograph Is to Learn How to Die: An Essay with Digressions
The camera is all about creating relationships that are unreal (in that they never existed in the world) among things that are absolutely and recalcitrantly real. In fact that all it can do.”
― 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
“To harp on a theme: it’s all about placing yourself and your machine in various relationships to the world in order to get at relationships between your self and the world.”
― 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
“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
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