André Kertész | Paris, 1925

Posted: November 17th, 2011 | Author: | Filed under: Books, Film, Photography, Quotes

Paris, 1925 © André Kertész

Paris, 1925 © André Kertész

One day my mother said, “If you want to go to Paris, go.” This was a great moment in my life. It was 1925. Arriving late at night, I and two other Hungarian boys took a room in a hotel. We were very tired, but next morning I looked out of the window and say my first subject. I knew no one in Paris, but I soon made friends.

- André Kertész, Kertész on Kertész


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Melvin Sokolsky | Jump

Posted: November 15th, 2011 | Author: | Filed under: Film, Photography

Jump, Paris 1965 © Melvin Sokolsky

Jump, Paris 1965 © Melvin Sokolsky

Jump, Paris 1965 © Melvin Sokolsky

Jump, Paris 1965 © Melvin Sokolsky

View more of Melvin Sokolsky’s work here.


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André Kertész | Elizabeth and Me, Paris 1931

Posted: November 11th, 2011 | Author: | Filed under: Books, Film, Photography, Quotes

Elizabeth and Me, Paris, 1931 © André Kertész

Elizabeth and Me, Paris, 1931 © André Kertész

 

I took the photo of Elizabeth and myself in the early 1930s. Of course, we also took a picture of the two of us together, but this is the one I like—just her and my hand. At the time I had a little self-timing device and I used it so I could get into the picture. I had found it in 1914 in Hungary and I still have it.

- André Kertész, Kertész on Kertész


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Marc Riboud | Chartres, France 1953

Posted: November 5th, 2011 | Author: | Filed under: Film, Photography, Quotes

Chartres, France 1953 © Marc Riboud

Chartres, France 1953 © Marc Riboud

The idea of photography as evidence is pure bullshit. A photo is no more proof of any reality than what you may hear being said by someone in a bus. We only record details, small fragments of the world. This cannot allow any judgement, even if the sum of these details may convey a point of view.

- Marc Riboud


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Josef Koudelka | Gypsies

Posted: October 28th, 2011 | Author: | Filed under: Books, Film, Photography, Quotes

Finally.

After 35 years, Koudelka’s amazing Gypsies has been released in a new edition by Aperture. With 30 never before seen images and a design that reflects Koudelka’s original intentions, the book is a gorgeous testament to the life of the Roma between 1962 and 1971 in Bohemia, Moravia, Slovakia, Romania, Hungary, France and Spain. After being out of print for so many years, I can finally stop my ceaseless hunting in used bookstores, sit back on the couch, and let Koudelka’s eye take me through the lives of the Roma 40 years ago.

Personally, I have had the good fortune of always being able to do what I wanted, never working for others. Maybe it is a silly principle, but the idea that no one can buy me is important for me. I refuse assignments, even for projects that I have decided to do anyhow. It is somewhat the same with my books. When my first book, the one on the gypsies, was published, it was hard for me to accept the idea that I could no longer choose the people to whom I would show my photos, that any one could buy them.

- Josef Koudelka

Slovakia, 1967. From the book, Koudelka: Gypsies. © Josef Koudelka, Magnum Photos

Slovakia, 1967. From the book, Koudelka: Gypsies. © Josef Koudelka, Magnum Photos

If a picture is good, it tells many different stories.

- Josef Koudelka

Bohemia, 1966. From the book, Koudelka: Gypsies. © Josef Koudelka, Magnum Photos

Bohemia, 1966. From the book, Koudelka: Gypsies. © Josef Koudelka, Magnum Photos

I was never paid for anything in Czechoslovakia, so it was easy to accept not being paid in the West. Also, I was used to a lower living standard.

- Josef Koudelka

France, 1970. From the book, Koudelka: Gypsies. © Josef Koudelka, Magnum Photos

France, 1970. From the book, Koudelka: Gypsies. © Josef Koudelka, Magnum Photos

For me, the most beautiful thing is to wake up, to go out, and to look. At everything. Without anyone telling me “You should look at this or that.” I look at everything and I try to find what interests me, because when I set out, I don’t yet know what will interest me. Sometimes I photograph things that others would find stupid, but with which I can play around. Henri as well says that before meeting a person, or seeing a country, he has to prepare himself. Not me, I try to react to what comes up. Afterwards, I may come back to it, perhaps every year, ten years in a row, and I will end by understanding.

- Josef Koudelka

Spain, 1971. From the book, Koudelka: Gypsies. © Josef Koudelka, Magnum Photos

Spain, 1971. From the book, Koudelka: Gypsies. © Josef Koudelka, Magnum Photos

When I travel, I don’t even know where I am going to sleep, I don’t think of the place where I will lie down until the moment I roll out my sleeping bag. It’s a rule that I’ve set for myself. Because I told myself that I must be able to sleep anywhere, since sleep is important. In the summer I often sleep outdoors. I stop working when there is no more light, and I start again in the early morning. I do not feel this to be a sacrifice, it would be a sacrifice to live otherwise. As for my points of reference, I don’t know what they would be.

- Josef Koudelka


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André Kertész | Champs Elysées, Paris, 1929

Posted: January 22nd, 2011 | Author: | Filed under: Books, Film, Photography, Quotes

André Kertész | <i>Champs Elysées, Paris, 1929</i>

André Kertész | Champs Elysées, Paris, 1929

At the time photography was zero — only the ordinary commercial kind of shots with little or no artistic value. Nobody photographed the chairs in the parks, in the Luxembourg Gardens, and in the Tuileries. I did. Of course, at that time I did not know that this was modern or unique.

-André Kertész, Kertész on Kertész


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Mona Kuhn | Evidence

Posted: January 8th, 2011 | Author: | Filed under: Film, Photography

I’m interested in working with the body as an element of culture not so much as a gender element.

-Mona Kuhn

Jacintha, Evidence by Mona Kuhn
Jacintha, Evidence by Mona Kuhn
Philipp's Birthday, Evidence by Mona Kuhn
Philipp’s Birthday, Evidence by Mona Kuhn

I do like color and black and white and I do them together. And I also think that I would not want to do just color because I like the depth of black and white. So just color might be, even if it’s fluid, even if you see the art in it, it still might just be a little too candy-like. It’s very seductive and I like playing with it but I do like the depth of black and white.

-Mona Kuhn

Captured, Evidence by Mona Kuhn
Captured, Evidence by Mona Kuhn

I shoot as I see things happening. Basically, I create a situation, I have a place where people come and spend time with me. And when I think that certain magic is happening, when life and art becomes one, then I start photographing. It might take half an hour, it might take two hours, depends on the mood. So it’s a little bit of creating an environment for two months during the summer, all of that is happening, everyone is feeling welcome and they know we’re there to work on creative projects. But I’m not really scheduling a shoot.

-Mona Kuhn

Refraction, Evidence by Mona Kuhn
Refraction, Evidence by Mona Kuhn

Some of my work looks so intimate because we are opening up to each other and working together.

-Mona Kuhn

Kai and Luzia, Evidence by Mona Kuhn
Kai and Luzia, Evidence by Mona Kuhn
Johnnie, Evidence by Mona Kuhn
Johnnie, Evidence by Mona Kuhn
Clara, Evidence by Mona Kuhn
Clara, Evidence by Mona Kuhn
Group I, Evidence by Mona Kuhn
Group I, Evidence by Mona Kuhn
Repose, Evidence by Mona Kuhn
Repose, Evidence by Mona Kuhn

[My use of selective focus and shallow depth of field] is a way for me to abstract a little bit the nude so it’s not so much of a recording or a proof that I have encountered someone naked yesterday and I’m telling the world. So it’s a way of making it a little bit more magical, a little bit more about a memory of a time that was spent together. It’s a way of abstracting the body.

-Mona Kuhn

Fatale, Evidence by Mona Kuhn
Fatale, Evidence by Mona Kuhn

I am a figurative artist so I’m working with people that I know and I’m working with photographing the human in the people that I know.

-Mona Kuhn

Bather, Evidence by Mona Kuhn
Bather, Evidence by Mona Kuhn

I’m just recognizing as the day goes by and I see maybe someone sitting on a stool and I say, wow, this looks fantastic just stay there. Or I might see some friends that are hanging out and laying in the sun and I say you know what I’m just going to go around with the camera and see what I can compose or what I can do here.

-Mona Kuhn

Flower, Evidence by Mona Kuhn
Flower, Evidence by Mona Kuhn
Couch Stories, Evidence by Mona Kuhn
Couch Stories, Evidence by Mona Kuhn

Since I work with people it all depends so much on their mood and what’s happening and the light and the relationships….I don’t know exactly what will come out. It’s a very organic way of working.

-Mona Kuhn

Roxane by Red Towel, Evidence by Mona Kuhn
Roxane by Red Towel, Evidence by Mona Kuhn

I use a Hasselblad, I don’t use a tripod, I have the camera out at all times so in a way it becomes a transparent thing. That’s what I like most about the technique is when it becomes translucent.

-Mona Kuhn

Balthazar, Evidence by Mona Kuhn
Balthazar, Evidence by Mona Kuhn

Because I have the square format, and that’s also very much part of my work, how do you put within a square format, the rigidity of the square, how do you put bodies in a way that shows relationships? That’s one of those little challenges that I enjoy when I am photographing.

-Mona Kuhn

An Open Door, Evidence by Mona Kuhn
An Open Door, Evidence by Mona Kuhn
Evidence by Mona Kuhn
Evidence by Mona Kuhn

I need to spend time with people and I need to see how I start imagining them in the images.

-Mona Kuhn


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Magnum Photos | Happy New Years

Posted: January 1st, 2011 | Author: | Filed under: Film, New York City, Photography

NEW YORK—New Year's Eve in Times Square, 1959. © Henri Cartier-Bresson / Magnum Photos

NEW YORK—New Year's Eve in Times Square, 1959. © Henri Cartier-Bresson / Magnum Photos

PARIS—New Year's celebration, 1979. © Guy Le Querrec / Magnum Photos

PARIS—New Year's celebration, 1979. © Guy Le Querrec / Magnum Photos

WARSAW, Poland—New Year’s Eve, 1989. © Mark Power / Magnum Photos

WARSAW, Poland—New Year’s Eve, 1989. © Mark Power / Magnum Photos

NORMANDY, France—Midnight supper of St. Sylvestre, 1976. © Jean Gaumy / Magnum Photos

NORMANDY, France—Midnight supper of St. Sylvestre, 1976. © Jean Gaumy / Magnum Photos

RHONDDA VALLEY, Wales—New Year's Eve celebrants, 2000. © Bruce Gilden / Magnum Photos

RHONDDA VALLEY, Wales—New Year's Eve celebrants, 2000. © Bruce Gilden / Magnum Photos

LONDON—Trafalgar Square on New Year's Eve, 1964.  © Ian Berry / Magnum Photos

LONDON—Trafalgar Square on New Year's Eve, 1964. © Ian Berry / Magnum Photos

GUNNEDAH, Australia—New Year’s Eve, 2003. © Trent Parke / Magnum Photos

GUNNEDAH, Australia—New Year’s Eve, 2003. © Trent Parke / Magnum Photos


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Robert Doisneau & André Kertész

Posted: December 27th, 2010 | Author: | Filed under: Film, Photography, Quotes

Les Amoureux aux Poireaux, 1950 © Robert Doisneau

Les Amoureux aux Poireaux, 1950 © Robert Doisneau

A hundredth of a second here, a hundredth of a second there–even if you put them end to end, they still only add up to one, two, perhaps three seconds, snatched from eternity.

-Doisneau Robert

Lovers, Budapest, 1915 © André Kertész

Lovers, Budapest, 1915 © André Kertész

Everything is a subject. Every subject has a rhythm. To feel it is the raison d’être. The photograph is a fixed moment of such a raison d’être, which lives on in itself.

-André Kertész

Robert Doisneau and André Kertész in Arles, France, 1975 © Wolfgang H. Wögerer

Robert Doisneau and André Kertész in Arles, France, 1975 © Wolfgang H. Wögerer


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André Kertész | The Place de la Concorde , Paris, 1928

Posted: May 21st, 2010 | Author: | Filed under: Books, Film, Photography, Quotes

The Place de la Concorde

The Place de la Concorde

Look at the atmosphere, the reflection. Why did I do it this way? Instinct. I have no other explanation. The subject offered itself to me and I took advantage.

-Andrés Kertész, Kertész on Kertész


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