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For me, art is such a wide concept - anything can be art.
One impulse of photography, as immediate as its impulse to extend the visible, is to theatricalize its subjects. The photographer's command, Watch the birdie! is essentially a stage direction.
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.
We are often taught to look for the beauty in all things, so in finding it, the layman asks the philosopher while the philosopher asks the photographer.
It therefore should be possible for even the photographer - just as for the creative poet or painter - to use the object as a stepping stone to a realm of meaning completely beyond itself.
I really don't have any secrets. I've never met a photographer whose work I respected that had a secret because the secret lies within each and every one of us.
It is curious that I always want to group things, a series of sonnets, a series of photographs; whatever rationalizations appear, they originate in urges that are rarely satisfied with single images.
It's unarguable to say that every one of us has been moved by the beauty of what I have called snapshots, but for photographers they are charms and proverbs, and like lightening or wild strawberries.
Technically perfect, pictorially rotten. (Stieglitz's standard comment on photographs he rejected for publication in The American Amateur Photographer.)
The inner chambers of the soul are like the photographer's darkroom. Like a laboratory. One cannot stay there all the time or it becomes the solitary cell of the neurotic.
If I didn't have my camera to remind me constantly, I am here to do this, I would eventually have slipped away, I think. I would have forgotten my reason to exist.