The photo is a thing in itself. And that's what still photography is all about.
The contest between form and content is what, is what art is about - it's art history. That's what basically everybody has ever contended with. The problem is uniquely complex in still photography.
Ultimately, Photography is subversive, not when it frightens, repels, or even stigmatizes, but when it is pensive, when it thinks.
I'm not very good with stills. I get all twitchy.
A still photographer is a mechanic. He's not an artist, despite all you read.
...candid still photography had taken over... What was interesting was that the photographs came without any intention of instructing you... You're like a cat looking out the window. You don't have to even know what you're watching, but you're watching it, and you're watching it very accurately.
In every successful still photographic project that I have completed, there has always been a turning point in the story where I felt that perhaps I was working on something that could be very special.
You've got a number of things that take place that are peculiar to still photography. One: how a picture looks - what you photograph is responsible for how a photograph looks. In other words, it's responsible for the form.
I look at the camera as sort of a missing link between motion picture photography and still photography.
I like making little videos and little records. I've always loved video cameras and four-track cassette recorders, still cameras, anything.
If I photograph you I don't have you, I have a photograph of you. It's got its own thing. That's really what photography, still photography, is about.
I find still photographs make me quite self-conscious.
When I moved to New York I started to do a lot of TV commercials. It just kind of naturally evolved from still photography to commercials.
I'm a photographer, a still photographer. That's it.
