What I was doing for those assignments wasn't always directly tied to what I was doing for myself, but it gave me the space to photograph. I started getting assignments that dealt with my own interests and made some pictures in that direction.
Everywhere I look and most of the time I look, I see photographs.
What I really try to do is photograph people at rest, in a state of serenity.
After writing all day I go for a walk and see a piece of architecture i want to photograph and i have to take a picture and later a poem comes in my mind.
The photograph is the most perfect picture. It does not change; it is absolute, and therefore autonomous, unconditional, devoid of style. Both in its way of informing, and in what it informs of, it is my source.
The Photograph is violent: not because it shows violent tings, but because on each occasion (i)it fills the sight by force(i), and because in it nothing can be refused or transformed (that we can sometimes call it mild does not contradict its violence: many say that sugar is mild, but to me sugar is violent, and I call it so).
In the end, the only heritage we have is our planet, and I have decided to go to the most pristine places on the planet and photograph them in the most honest way I know, with my point of view, and of course it is in black and white, because it is the only thing I know how to do.
Photograph: a picture painted by the sun without instruction in art.
Stop and go: always on some journey. My bounty is a photograph or two.
I still dream of the day when I will take a photograph so beautiful that it can be called love.
The simple fact is this: There are no neutral photographs.
One thing that struck me early is that you don’t put into a photograph what’s going to come out. Or, vice versa, what comes out is not what you put in.
While a painting, even one that meets photographic standards of resemblance, is never more than the stating of an interpretation, a photograph is never less than the registering of an emanation (light waves reflected by objects)- a material vestigate of its subject in a way that no painting can be. . . Having a photograph of Shakespeare would be like having a nail from the True Cross.
I really believe there are things nobody would see if I didn't photograph them.
I want my photographs to say: "Look-there's this thing you haven't seen that you should see. "
Photographs are detonators. They explode in us. We are the gaze as well as the gazed-at. The observer and the observed.
Why do photographers photograph? To make unreality visible.
[Making movies] you're not trying to capture reality, you're trying to capture a photograph of reality.
Our memory is like a shop in the window of which is exposed now one, now another photograph of the same person. And as a rule the most recent exhibit remains for some time the only one to be seen.
The best photographs are made by the best people.