Larry Fink
[Photographer, b. 1941, Brooklyn, New York, lives in Martins Creek, Pennsylvania.]

 My picture-making process is not so much about making a photograph as it is about paying extreme attention to what I’m most attracted to, what is drawing my interest. For the most part, I’m hyperstimulated at all times; my life is a massive run-on sentence of stimulation. 
 [Photography is] the idea of the transformative merger between you and the person you are seeing, that you somehow try to enter their form, their skin, their mass, their muscle, and potentially, possibly, their soul. 
 The pictures I take now and tomorrow and yesterday are about human events on a small order. I try to make them bigger, to make them into metaphors that might speak across the board. 
 I’ve made a lot of fucking good pictures since I started. (Declining a request to select a few photographs that “epitomize his work.”) 
 I photograph because I live. I want to contribute that passion of living to posterity in the best way I can. 
 I’m a scoundrel, really. But there’s something about me that remains rather innocent when I’m looking at people… Also, I’m always slightly nervous when I’m taking a picture, though I do it obsessively and without shame. People may sense that and relax, or at least not feel threatened. 
 Human honesty and deception have been the core of my work. I am drawn to energy that is both constrained and unbounded and I try with the camera to fix the complexity of the moment: to create an infectious perception, so as to change the viewers’ aloof judgment to one of unavoidable, impassioned involvement. 
 My approach [to teaching photography] is to assemble an avenue for passions to be expressed. I want students to understand that there are no good pictures taken when your camera is pointed at subject matter you’re not interested in. 
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