I can’t stand these damn shows on museum walls with neat little frames, where you look at the images as if they were pieces of art. I want them to be pieces of life!
W. Eugene SmithRead
Up to and including the moment of exposure, the photographer is working in an undeniably subjective way. By his choice of technical approach, by the selection of the subject matterand by his decision as to the exact cinematic instant of exposure, he is blending the variables of interpretation into an emotional whole.
Interpretation
Photography is an artistic interpretation shaped by personal choices and emotional insights.
This quote emphasizes the subjective nature of photography, highlighting how a photographer's decisions—ranging from technical aspects to subject selection—contribute to the emotional impact of the final image. It suggests that every photograph is not just a capture of reality but a blend of personal interpretation and emotion, where every choice made by the photographer influences how the viewer perceives the image.
In practice
During a photography class when discussing creative techniques.
I can’t stand these damn shows on museum walls with neat little frames, where you look at the images as if they were pieces of art. I want them to be pieces of life!
I've never made any picture, good or bad, without paying for it in emotional turmoil.
Most photographers seem to operate with a pane of glass between themselves and their subjects. They just can't get inside and know the subject.
I try to take what voice I have and I give it to those who don’t have one at all.
The photographer must bear the responsibility for his work and its effect …[for] photographic journalism, because of its tremendous audience reached by publications using it, has more influence on public thinking than any other branch of photography.
Many claim I am a photographer of tragedy. In the greater sense I am not, for though I often photograph where the tragic emotion is present, the result is almost invariably affirmative.
I'm big on having a blistering pace. That's one of the hallmarks of what I do, and that's not easy. I never blow up cars and things like that, so it's something else that keeps the suspense flowing. I try not to write a chapter that isn't going to turn on the movie projector in your head.
I can’t worry too much about the everyday things. Otherwise I’d lose touch with my own world, that helps me as an artist, but it’s frustrating for the people around me. I’m vaguely functional, but there’s always something slightly off.
The most important thing is that you honor that musical integrity, whether you make music that sounds like ABBA or you make music that sounds like Void.
I just assumed the world was full of solo percussionists. I couldn't find sticks or music or anything where I was, but that was expected because there was nothing there anyway. And I think that was possibly the greatest asset for me, just not knowing.
The celebrity-chef thing, even at its worst, its most annoying, its silliest, its goofiest, its most egregious and cynical, has been a good thing.
Black and white might be sufficient. But why deprive yourself of color.
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