I'm so drawn to photography because you can convey a complex story in a single frame.
If photography is allowed to stand in for art in some of its functions it will soon supplant or corrupt it completely thanks to the natural support it will find in the stupidity of the multitude. It must return to its real task, which is to be the servant of the sciences and the arts, but the very humble servant, like printing and shorthand which have neither created nor supplanted literature.
My main camera is a Nikon D3. I use a French camera from the 1800s for wet plate photography, I use a Hasselblad sometimes. But to me the camera really doesn't matter that much. I don't have a preference for film or digital.
Photography is a small voice, at best, but sometimes one photograph, or a group of them, can lure our sense of awareness.
I come from an era when we had to figure out how to bolt a camera to a motorcycle or an airplane or dig a hole and find a canyon deep enough to repel into it so that we can capture images that were real.
I photograph to find out what something will look like photographed.
There is an aggression implicit in every use of the camera.
Directing music videos is all about capturing images.
I don't know if the camera likes me, but I do like the camera.
I became interested in photography when I found my own sketching was inadequate.
Travel becomes a strategy for accumulating photographs.
You know, they always say that the photographer is a hunter of images. That is a flattering image, the idea of a hunter, it's virile, acquired power. Actually though, it isn't that. We are really fishermen with hooks and lines.
I love the luxury of the camera. The camera does so much for you. I like the secrets a camera can tell.
I don't want to knock photography, and I don't feel that film is up there but photography isn't. I think they're next to each other really, you know. There's an incredible strength to a still picture. Or there can be an incredible strength to a still picture that can outlive you. That can outlive a film.
The camera is a mirror with a memory, but it cannot think.
The instrument is not the camera but the photographer.
Cameras, in short, were clocks for seeing, and perhaps in me someone very old still hears in the photographic mechanism the living sound of the wood.
DAGUERREOTYPE Will take the place of painting. (See PHOTOGRAPHY.) (From The Dictionary of Received Ideas, assembled from notes Flaubert made in the 1870s.)
The painter constructs, the photographer discloses.
I've learned to create a palette, a vocabulary of ways to take pictures.
I love the camera; there's something very special and sensual about it, and I have a tendency to call it a he, like it was a man. But, unlike a man, a camera is accepting of everything I do.
Forget the camera, forget the lens, forget all of that. With any four-dollar camera, you can capture the best picture.
Probably one of the worst things that happened to photography is that cameras have viewfinders.
Photography has a relation to intervention, but photographing is not the same as an intervening.
I like to think of Photography 1.0 as the invention of photography. Photography 2.0 is digital technology and the move from film and paper to everything on a chip. Photography 3.0 is the use of the camera, space, and color and to capture an object in the third dimension.
