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The aesthetic discussion of photography is dominated by the concept of time. Photographs appear as devices stopping time and preserving fragments of the past, like flies in amber.
It's in trying to direct the traffic between Artiface [sic] and Candor, without being run over, that I'm confronted with the questions about photography that matter most to me.
For me, the importance of photography is that you can point to something, that you can let other people see things. Ultimately, it is a matter of the specialness of the ordinary.
I would say that the emblematic photographic image is a picture from inside a room looking out. I think this defines photography. It's the metaphor for the notion of first sight. What one saw first.
Contemporary art photography, or, more specifically, what I would term mainstream art photography, represents for the most part the mining of an exhausted lode.
If you can imagine photography in the guise of a woman and you’d ask her what she thought of Stieglitz, she’d say: He always treated me like a gentleman.
Photography was the medium preeminently qualified to unite art with science. Photography was born in the years which ushered in the scientific age, an offspring of both science and art.
I think I was driven to paint portraits to commit images of friends and family to memory. I have face blindness, and once a face is flattened out, I can remember it better.
If people are fans of 'Mindfreak,' they are going to be so excited with 'Believe.' They are actually going to see those illusions that people think can only happen with trick photography.
I got a lot of flak originally for writing with photographs, because the great cliche in photography is that one photograph is worth a thousand words, and photographers are usually dodo birds anyway.
... photography is just a medium. It's like a typewriter. Photography as an art doesn't interest me an awful lot; as a participant, though I like to look at it.