I want to be a major force.
The heart [of my work], the quintessential, remains the questioning of photographic truth. Be careful, be critical, doubt, and filter the information you receive.
Every photograph is a fiction with pretensions to truth. Despite everything that we have been inculcated, all that we believe, photography always lies; it lies instinctively, lies because its nature does not allow it to do anything else.
The world begins with every kiss.
Among photojournalists there is still a sense that doing a photomontage is far graver than adding a filter. I am against this type of hierarchy that demonizes some options over others, demonizes them in respect to, what - ideology or moral code?
Photography mirrored the [nineteenth century] will towards rigor, towards defining details, the need for miniscule description, the long-distance optics, for technology at the service of truth, for concepts of credibility, of objectivity, the need to archive, for the consolidation of institutions like the museum, in short, towards a need to control memory.
Photography. . . has lived under the tyranny of its subject matter: the object has exercised an almost total domination.
It is hard to see Judge Roberts as a judicial activist who would place ideological purity or a particular agenda above or ahead the need for thoughtful legal reasoning.
What I look for in any character, good or bad, is whether I can hear him speak. If I can imagine him that clearly, then I can write about him.
Every four minutes, another American home or business goes solar.
I equally love both, classic rock and hip-hop. I love all music, really, and I really use classic rock a lot. I'm heavily influenced by that melodically in my music. I can't really separate the two.