And do the pictures sustain your ideas or are they just good pictures? 7 déc. There is something exciting about being in the crowd, in all that chance and change—its tough out there—but if you can keep paying attention something will reveal itself—just a split second—and then there’s a crazy cockeyed picture. There are so many ways of slicing that question, but I think what we’ve seen from the history of photography is that a good photograph often reveals something of the photographer’s interiority. Joel Meyerowitz Quotes. But I think of photography as ideas. You try less hard. I just want to be. I photographed the entire thing in color because to photograph it in black and white would be to keep it as a tragedy. We all experience it. I just want to be. I’m going to make these pictures. Yes, a photograph can look like a picture, but really in it is the organic power of an idea about something, whether it’s about space, light, time, or the interrelationships between disconnected things. This book is like a giveaway of everything I know. Suddenly you're alive. From the book: Photography in 100 Words. On the question: "In your experience, what is it that makes a good photograph?". It’s just like making pictures. It came off him in waves - to be keyed up, eager, excited for pictures in that way. If you take a photograph, you've been responsive to someting, and you looked hard at it. There is something exciting about being in the crowd, in all that chance and change—its tough out there—but if you can keep paying attention something will reveal itself—just a split second—and then there’s a crazy cockeyed picture. [the small camera] taught me energy and decisiveness and immediacy … The large camera taught me reverence, patience, and meditation. Don't miss out on our next weekly batch. Photography is a response that has to do with the momentary recognition of things. Start your week with a motivational kick. But I think of photography as ideas. You learn something about the photographer's wit, their timing, or their vision — how they were able to seize the unexpected moment and make something substantial out of it like meaning, poetry, beauty, or tragedy. They may look at it themselves and say, “Wow, I did that? You just had to get in the same groove... You know, if you hesitate, forget it. Sunday Times book of creative photography. We need a record. It comes down to risk, again and again. There are a billion people on the planet carrying around a phone every day and they’re making all kinds of pictures. One of the things I learned on the street was to trust life and to keep hands off of it, and that feeling continues in the rest of the works that I do, the portrait, the landscapes, or any interest that I have. I find it strangely beautiful that the camera with its inherent clarity of object and detail can produce images that in spite of themselves offer possibilities to be more than they are ... a photograph of nothing very important at all, nothing but an intuition, a response, a twitch from the photographer’s experience. That's what you got from Garry. 'Tough' meant it was an uncompromising image, something that came from your gut, out of instinct, raw, of the moment, something that couldn’t be described in any other way. Colour plays itself out along a richer band of feelings: more wavelengths, more radiance, more sensation. It’s a beautiful system, this game of photography, to see in an instant and go back and think about later on. I want to have an experience in the world that is a deepening experience, that makes me feel alive and awake and conscious. I’m going to get in there. Then I thought, Whoa. The recognition and the acting on the recognition, depending on your equipment, is close to instantaneous. David Clark. And risking that gesture all the time is part of the joy of seeing, because I don't have to stretch a canvas, I don’t have to mix the paints, I don’t have to light the studio. [b. Voir plus d'idées sur le thème Photographie, Photographie couleur, William eggleston. For me, the genesis was an instantaneous recognition that photography might be able to stop moments that were once invisible. You know, he (Winogrand) set a tempo on the street so strong that it was impossible not to follow it. It was just destruction.”, “We think of photography as pictures. So it was tough. I never, ever, think about it. It was like jazz. ...Photography is a response that has to do with the momentary recognition of things. [b. What is the art experience about? energy, so that I could recock it. A Conversation: Bruce K. Macdonald with Joel Meyerowitz, July 22-26, 1977 (Cape Cod). On the question: "In your experience, what is it that makes a good photograph?". The tougher they were the more beautiful they became. If you risk coming out, if you risk making pictures that aren’t good, you might discover something in a photograph that is the key. energy, so that I could recock it. , Visions and Images : American Photographers on Photography by Barbaralee Diamonstein , Page: 112. My camera is a snare. Photography is very philosophical. I just watched it evaporate. I want to have an experience in the world that is a deepening experience, that makes me feel alive and awake and conscious. I think about photographs as being full, or empty. It came off him in waves - to be keyed up, eager, excited for pictures in that way. Most of these pictures are center weighted and familiar-looking pictures, but every once in a while someone is caught off guard by taking a picture that has incredible characteristics and qualities. The very doorway to your own interest.”, “A lot of what I am looking for is a moment of astonishment, he says. On the street each successive wave brings a whole new cast of characters, You take wave after wave, you bathe in it. I would like to improve my game.” It’s for those people that I wanted to make this book [How I Make Photographs]. Yes, a photograph can look like a picture, but really in it is the organic power of an idea about something, whether it’s about space, light, time, or the interrelationships between disconnected things. What I think is so extraordinary about the photograph is that we have a piece of paper with this image adhered to it, etched on it, which interposes itself into the plane of time that we are actually in at that moment. There are so many ways of slicing that question, but I think what we’ve seen from the history of photography is that a good photograph often reveals something of the photographer’s interiority. I think most of us go through our lives partially asleep. The recognition and the acting on the recognition, depending on your equipment, is close to instantaneous.”, “Then I thought, Whoa. That's what you got from Garry. , Bystander : A History of Street Photography by Colin Westerbeck, Joel Meyerowitz I want to enjoy the languor of just living, recognizing, acknowledging, taking it in, sort of amplifying it in some way. It’s just like making pictures.”, “You fill up the frame with feelings, energy, discovery, and risk, and leave room enough for someone else to get in there.”, “I believe that street photography is central to the issue of photography – that it is purely photographic, whereas the other genres, such as landscape and portrait photography, are a little more applied, more mixed in the with the history of painting and other art forms.”, “Photography is a response that has to do with the momentary recognition of things. A minute later there was nothing there. It’s pure philosophy. To say the word "Art", it's almost like a curse on art. They show you what you look at. For me, the genesis was an instantaneous recognition that photography might be able to stop moments that were once invisible. 2019 - Découvrez le tableau "JOEL MEYEROWITZ" de User Name sur Pinterest. Suddenly you're alive. And it is. Hard for a thousandth of a second, hard for ten minutes. If there are no photographs, then there is no history. It was just destruction. Even though our eyes are open and we're out in the world, we're daydreaming or we're distracted in some way. I do know that I want to try to get closer to myself. A 35mm picture is just a rectangle and everybody has the same space to work with, but what you can invent and come up with within that space is how you develop. Really, I'm not interested in making "Art" at all. , ISBN: 0821227262. I want to have an experience in the world that is a deepening experience, that makes me feel alive and awake and conscious. Really, I'm not interested in making "Art" at all. And it is. Joel Meyerowitz has 44 books on Goodreads with 2081 ratings. Sunday Times book of creative photography. I have to say, taking photographs is such an instantaneous act. Photography is very philosophical.”, “One of the things I learned on the street was to trust life and to keep hands off of it, and that feeling continues in the rest of the works that I do, the portrait, the landscapes, or any interest that I have. That connection, that collision, that interfacing, is one of the most astonishing things we can experience. I never, ever, think about it. Making any statement of your feelings is risky. , Bystander : A History of Street Photography by Colin Westerbeck, Joel Meyerowitz I’ve always thought about photography as being about ideas. And poetry. You fill up the frame with feelings, energy, discovery, and risk, and leave room enough for someone else to get in there. Photography Quotations by masters of photography - Quotes by photographers and amateurs.Joel Meyerowitz It was like jazz. Making any statement of your feelings is risky. It happens in an instant, but it gives you hours or days of time to reflect on things. We think of photography as pictures. It was like having a hair trigger. And it is. I feel that this is what you have to do as an artist — give away everything you learned and allow people to make something out of it on their own. It's just like making pictures. Voir plus d'idées sur le thème Photographie, Stephen shore, William eggleston. The older I get, the more indications I have about what it is to get closer to yourself. You don't have to learn to unleash that. And poetry. I want to enjoy the languor of just living, recognizing, acknowledging, taking it in, sort of amplifying it in some way. “Photography is about being exquisitely present.”, “Making any statement of your feelings is risky. Suddenly you’re alive. And risking that gesture all the time is part of the joy of seeing, because I don't have to stretch a canvas, I don’t have to mix the paints, I don’t have to light the studio. I’m going to make these pictures. If there are no photographs, then there is no history. You look at it, and all around the real world is humming, buzzing and moving, and yet in this little frame there is stillness that looks like the world. I want to have an experience in the world that is a deepening experience, that makes me feel alive and awake and conscious.”, “It comes down to risk, again and again. A minute later there was nothing there. It was like having a hair trigger. I have to say, taking photographs is such an instantaneous act. A lot of what I am looking for is a moment of astonishment, he says. And for me that's the joy of photography: to be connected to things in the world that are suddenly of conscious value.