Sometimes, all you can take are memoriesBut if you__e lucky enough to capture the moment,it lives forever, immortally fixed.
When I was in school, I wanted to be W. Eugene Smith. He was a legendary staffer at Life, a consummate photojournalist, and an architect of the photo essay. He was also kinda crazy.That was obvious when he came to lecture at Syracuse University and put a glass of milk and a glass of vodka on the lectern. Both were gone at the end of the talk. He was taking questions and I was in the front row, hanging on every word.Mr. Smith, is the only good light available light?_ came the question.He leaned into the microphone. __es,_ he baritoned, and paused.A shudder ran through all of us. That was it! No more flash! God__ light or nothing!But then he leaned back into the mic, __y that, I mean, any &*%%@$ light that__ available.__oint taken.
The Moment It Clicks: Photography Secrets from One of the World's Top Shooters
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When I was in school, I wanted to be W. Eugene Smith. He was a legendary staffer at Life, a consummate photojournalist, and an architect of the photo essay. He was also kinda crazy.That was obvious when he came to lecture at Syracuse University and put a glass of milk and a glass of vodka on the lectern. Both were gone at the end of the talk. He was taking questions and I was in the front row, hanging on every word.Mr. Smith, is the only good light available light?_ came the question.He leaned into the microphone. __es,_ he baritoned, and paused.A shudder ran through all of us. That was it! No more flash! God__ light or nothing!But then he leaned back into the mic, __y that, I mean, any &*%%@$ light that__ available.__oint taken.
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Anyone can take a picture of poverty; it__ easy to focus on the dirt and hurt of the poor. It__ much harder__nd much more needful__o pry under that dirt and reveal the beauty and dignity of people that, but for their birth into a place and circumstance different from our own, are just like ourselves. I want my images to tell the story of those people and to move us beyond pity to justice and mercy.
He wanted to live life to the extreme, but without any mess or complications. He wanted to live life in such a way that if a photograph were taken at random, it would be a cool photograph. Things should look right. Fun; there should be a lot of fun and no more sadness than absolutely necessary.
He owned an expensive camera that required thought before you pressed the shutter, and I quickly became his favorite subject, round-faced, missing teeth, my thick bangs in need of a trim. They are still the pictures of myself I like best, for they convey that confidence of youth I no longer possess, especially in front of a camera.
It's a cruel, ironical art, photography. The dragging of captured moments into the future; moments that should have been allowed to evaporate with the past, should exist only in memories glimpsed through the fog of events that came after. Photography forces us to see people before their future weighed down on them. Before they knew their endings.
...The editors of (i)Life(i) rejected Kerész'a photographs when he arrived in the United States in 1937 because, they said, his images 'spoke too much'; they made us reflect, suggested a meaning _ a different meaning from the literal one. Ultimately, Photography is subversive not when it frightens, repels, or even stigmatizes, but when it is (i)pensive(i), when it thinks.