Thomas Ruff
[Photographer, b. 1958, Zell, Germany, lives in Dusseldorf, Germany.]

 You cannot explain the whole world in one photograph. Photography pretends. You can see everything that’s in front of the camera, but there’s always something beside it. 

W. Eugene Smith
[Photographer, b. 1918, Wichita, Kansas, d. 1978, Tucson, Arizona.]

 The first word I would remove from the folklore of journalism is the word objective. 

Roger Ballen
[Photographer, b. 1950, New York, lives in Johannesburg, South Africa.]

 It is my belief that the most challenging photographs are those that create a tension between what we refer to as the real and the imaginative. 

W. Eugene Smith
[Photographer, b. 1918, Wichita, Kansas, d. 1978, Tucson, Arizona.]

 The journalistic photographer can have no other than a personal approach; and it is impossible for him to be completely objective. Honest—yes. Objective—no. 

Eikoh Hosoe
[Photographer, b. 1933, Yonezawa, Yamagata Prefecture, Japan, lives in Tokyo.]

 To me, a photograph is both a record and a testimony, mirror and window... in which inside and outside are as one, ever-changing... The camera is generally assumed to be unable to depict that which is not visible to the eye. And yet the photographer who wields it well can depict what lies unseen in his memory. 

David Hockney
[Artist, b. 1937, Bradford, England, lives in Bridlington, Yorkshire; London; and Los Angeles.]

 Photography hankers after the condition of the neutral observer. But there can be no such things as a neutral observer. For something to be seen, it must be looked at by somebody, and any true and real depiction must be an account of the experience of that looking. 

W. Eugene Smith
[Photographer, b. 1918, Wichita, Kansas, d. 1978, Tucson, Arizona.]

 Up to and including the instant of exposure, the photographer is working in an undeniably subjective way. 

Dorothea Lange
[Photographer, b. 1895, Hoboken, New Jersey, d. 1965, San Francisco.]

 ... it is not a factual photograph per se. The documentary photograph carries with it another thing, a quality in the subject that the artist responds to. It is a photograph which carries the full meaning of the episode or the circumstance or the situation that can only be revealed—because you can’t really recapture it—by this other quality. There is no real warfare between the artist and the documentary photographer. He has to be both. 
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