Jerry N. Uelsmann (born June 11, 1934) is an American photographer, and was an early exponent of photomontage in the 20th century in America.
The simple act of having a camera, not a cell phone, but a camera-camera, there’s a kind of a heightened perceptional awareness that occurs. Like, I could walk from here to the highway in two minutes, but if I had a camera, that walk could take me two hours.
Well, I do think, particularly the way I work, the better images occur when you're moving to the fringes of your own understanding. That's where self-doubt and risk taking are likely to occur. It's when you trust what's happening at a non-intellectual non-conscious level that you can produce work that later resonates, often in a way that you can't articulate a response to.
And young people who are learning digital skills discover that the real challenge is coming up with an image that resonates, first of all, with your self and hopefully, with an audience. They can learn all these new techniques and think that they're easier to use, but creating great images isn't about the tools.
The truth is that one is more frequently blessed with ideas while working.
The camera basically is a license to explore.
The goal of the artist is not to resolve life's mysteries, but to deepen them.
My visual quest is driven by a desire to create a universe capable of supporting feelings and ideas.
Let us not be afraid to allow for post-visualization. By post-visualization I refer to the willingness on the part of the photographer to revisualize the final image at any point in the entire photographic process.
Of course, in order to make art, the frustration of not working has to be greater than the frustration of working.
In the arts there are many right answers.
The camera is a fluid way of encountering that other reality
Editions made sense when people worked with engravings where the plate wore down as prints were made. An early number of the edition had slightly better quality. But that's not the case with photography. To me, it's a false way of creating value.
The anticipation of discovering new possibilities becomes my greatest joy.
My creative process begins when I get out with the camera and interact with the world. A camera is truly a license to explore. There are no uninteresting things. There are just uninterested people.
Photography is just light remembering itself.
I try to begin working with no preconceived ideas.
The contemporary artist. . . is not bound to a fully conceived, previsioned end. His mind is kept alert to in-process discovery and a working rapport is established between the artist and his creation. While it may be true, as Nathan Lyons stated, 'The eye and the camera see more than the mind knows,' is it not also conceivable that the mind knows more than the eye and the camera can see?
I have gradually confused photography with life.
When the entire process becomes a prescribed ritual that does not allow for spontaneous variations and reactions, the vitality of the medium and our relation to it suffers.
The creative process can sustain itself throughout the entire celebration of photography.