photography

At age four I was a camera. I took pictures with my eyes. I framed my photo within my vision and blinked my eyes to snap the shutter of my memory. Since that time, I've been impersonating inanimate objects at every opportunity.

To photograph people is to obligate them in some way to face things they weren't expecting to.

Pictures can be pretty deceptive.

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Art is unpredictable.

I believe all photographers want to be remembered for their images. They reflect a piece of their soul.

All of those thousands upon thousands of photographs my father had taken. Think of them instead. Each one a record, a testament, a bulwark against forgetting, against nothingness, against death. Look, this happened. A thing happened, and now it will never un happen. Here it is in a photograph: a baby putting its tiny hand in the wrinkled palm of an octogenarian. A fox running across a woodland path and a man raising a gun to shoot it. A plane crash. A comet smeared across a morning sky. A prime minister wiping his brow. The Beatles, sitting at a cafe table on the Champs-Elysees on a cold January day in 1964, John Lennon's pale face under the brim of a fisherman's cap. all these things happened, and my father committed them to a memory that wasn't just his own, but the world's. My father's life wasn't about disappearance. His was a life that worked against it.

If we continually let go of the moments, we let go of who we are and we lose ourselves.

The unary Photograph has every reason to be banal, 'unity' of composition being the first rule of vulgar (and notably, of academic) rhetoric: 'The subject,' says one handbook for amateur photographers, 'must be simple, free of useless accessories; this is called the Search for Unity.

Known as __eni,_ Helene Bertha Amalie Riefenstahl was born on August 22, 1902. During the Third Reich she was known throughout Germany as a close friend and confidant of the Adolf Hitler. Recognized as a strong swimmer and talented artist, she studied dancing as a child and performed across Europe until an injury ended her dancing career. During the 1920__ Riefenstahl was inspired to become an actress and starred in five motion pictures produced in Germany. By 1932 she directed her own film __as Blaue Licht._ With the advent of the Hitler era she directed __riumph des Willens_ anf __lympia_ which became recognized as the most innovative and effective propaganda films ever made. Many people who knew of her relationship with Hitler insisted that they had an affair, although she persistently denied this. However, her relationship with Adolf Hitler tarnished her reputation and haunted her after the war. She was arrested and charged with being a Nazi sympathizer, but it was never proven that she was involved with any war crimes. Convinced that she had been infatuated and involved with the Führer, her reputation and career became totally destroyed. Her former friends shunned her and her brother, who was her last remaining relative, was killed in action on the __astern Front._ Seeing a bleak future __eni_ Riefenstahl left Germany, to live amongst the Nuba people in Africa. During this time Riefenstahl met and began a close friendship with Horst Kettner, who assisted her with her acknowledged brilliant photography. They became an item from the time she was 60 years old and he was 20. Together they wrote and produced photo books about the Nuba tribes and later filmed marine life. At that time she was one of the world's oldest scuba divers and underwater photographer. Leni Riefenstahl died of cancer on September 8, 2003 at her home in Pöcking, Germany and was laid to rest at the Munich Waldfriedhof.

I also have to add that if Rembrandt had been given a camera then that guys understanding of light and form would have blown the rest of us shooters into a black hole of despair.

Stories are one of the greatest gifts we can give to our children. Stories are equipment for life.

If you are out there shooting, things will happen for you. If you__e not out there, you__l only hear about it.

To take a picture is to have an interest in things as they are, in the status quo remaining unchanged, to be in complicity with whatever makes a subject interesting, worth photographing-including, when that is the interest, another person's pain or misfortune.

remember... the picture should tell a story in itself, and should have a spontaneous approach

The horizon is the fine line between golden hour and blue hour.

Remember that even just watching animals has an impact. Intrusion into their living space can expose them to predation, keep them from feeding or other essential activities, or cause them to leave their young exposed to predation or the elements. No photo or viewing opportunity is worth harassing or stressing wildlife. In appreciating and watching them, we have a responsibility to protect and preserve the animals that share our state.

I've never taken a photograph of someone and created a persona, I've just discovered what was already there.