Sometimes, all you can take are memoriesBut if you__e lucky enough to capture the moment,it lives forever, immortally fixed.
You think too much and I bet it kills the magic," he says simply. "Some things are just instinct and if you try and replace that with thinking they die. You can read and think as much as you want before and after, but in the moment, man, you have to, like, let go.
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You think too much and I bet it kills the magic," he says simply. "Some things are just instinct and if you try and replace that with thinking they die. You can read and think as much as you want before and after, but in the moment, man, you have to, like, let go.
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Anyone can take a picture of poverty; it__ easy to focus on the dirt and hurt of the poor. It__ much harder__nd much more needful__o pry under that dirt and reveal the beauty and dignity of people that, but for their birth into a place and circumstance different from our own, are just like ourselves. I want my images to tell the story of those people and to move us beyond pity to justice and mercy.
He wanted to live life to the extreme, but without any mess or complications. He wanted to live life in such a way that if a photograph were taken at random, it would be a cool photograph. Things should look right. Fun; there should be a lot of fun and no more sadness than absolutely necessary.
He owned an expensive camera that required thought before you pressed the shutter, and I quickly became his favorite subject, round-faced, missing teeth, my thick bangs in need of a trim. They are still the pictures of myself I like best, for they convey that confidence of youth I no longer possess, especially in front of a camera.
It's a cruel, ironical art, photography. The dragging of captured moments into the future; moments that should have been allowed to evaporate with the past, should exist only in memories glimpsed through the fog of events that came after. Photography forces us to see people before their future weighed down on them. Before they knew their endings.
...The editors of (i)Life(i) rejected Kerész'a photographs when he arrived in the United States in 1937 because, they said, his images 'spoke too much'; they made us reflect, suggested a meaning _ a different meaning from the literal one. Ultimately, Photography is subversive not when it frightens, repels, or even stigmatizes, but when it is (i)pensive(i), when it thinks.