If someone tells you, "You can't" they really mean, "I can't. "
Whatever the aspect, I've tried to provide clear witness to what I've found, to resonate well enough with the harmonics of the place that the tuning can be felt in the pictures.
When a photographer chooses a subject, he or she is making a claim on the interest and attention of future viewers, a prediction about what will be thought to have been important.
I see the experience of pictures as a kind of cycle, a kind of circular motion in which you're in the world, then you enter the picture and you're in a different world (it's not the same as the one you live in, but recognizable as one you might live in). And then you're returned to your world with an enlarged sense of its possibilities.
Photography, too, reduces the world to strips and rectangles; photographers scrutinize the surfaces of reality in hope of unlocking the potential for significance that is latent within them.
The documentary style is an incredibly flexible and useful one. It's a wonderful tool for establishing the credibility of the version of things that's in the photograph - a kind of rhetorical device or rhetorical strategy. It's always felt very natural to me, because I want a person to end up thinking about the world, and to think about it in a way that is transformed by the experience of art.
If the double helix was so important, how come you didn't work on It? Ther husband, Linus Pauling, when the Nobel Prize was awarded to Crick, Watson and Wilkins.
This world of ours is piled high with farewells and goodbyes of so many different kinds, like the evening sky renewing itself again and again from one instant to the next-and I didn’t want to forget a single one.
You'll never come second by putting God first.
The way I work emotionally is: I don't ever try to cry. I try not to, which is what for me produces organic emotion.