I just don’t know what makes a picture, really — the thing that makes it is something unique, as far as I can understand. Just like one guy can write a sentence and it’s beautiful and another guy can write it and it’s dead. What that difference is, I don’t know. […]
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I always felt you can’t make that many good pictures a year. A friend of mine went to Europe for about six months; he came back and he said, “Let’s see what you’ve been doing.” I said, “I’ve only got one picture that’s any good.” And he looked at it and said, “Well, it’s worth a year’s work.” […] “I was snookered into photography to begin with — captured by certain aspects of the medium — and it’s simply been a matter of deciding what I could do within that context. The whole reason I’m in this curatorship is Beaumont [Newhall].” […] You don’t have to deal with people you don’t admire. I have severed a lot of relationships with people whose behavior patterns and philosophies were not mine. I’m not saying that they were criminal, or wrong, or even unethical; they were just not on my ethical wavelength, and I could not deal with that. […] If photography books are to become really viable as products, without meaning as “merchandise,” if they’re to be able to be self-sustaining as a produced artifact, they’ve got to go beyond the market in photography. […] |
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