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

 [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. 
 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. 
 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 photograph because I live. I want to contribute that passion of living to posterity in the best way I can. 
 I’ve made a lot of fucking good pictures since I started. (Declining a request to select a few photographs that “epitomize his work.”) 
 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. 
 The photographs speak specifics, my words attempt to swallow a general flow. 
 These were not models or abstract women wandering into my studio room but women who I have known as people and as real. To me photographing the nude is simply using my camera to sense and feel the pulse of life... I am interested in photographing of women as people, not the photographing of women as stigma, or the photographing of women as flesh or smut or form or any number of essentially superficial aesthetic devices in which the photographer’s fragile ego tends to dabble. 
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