Aaron Siskind Quotes

Producing a photographic document involves preparation in excess. There is first the examination of the idea of the project. Then the visits to the scene, the casual conversations, and more formal interviews - talking, and listening, and looking, looking ... And finally, the pictures themselves, each one planned, talked, taken and examined in terms of the whole.

What is the subject matter of this apparently very personal world? It has been suggested that these shapes and images are underworld characters, the inhabitants of the vast common realm of memories that have gone down below the level of conscious control. It may be they are. The degree of emotional involvement and the amount of free association with the material being photographed would point in that direction.

For some reason or other there was in me the desire to see the world clean and fresh and alive, as primitive things are clean and fresh and alive. The so-called documentary picture left me wanting something.

As photographers, we must learn to relax our beliefs. Move on objects with your eye straight on, to the left, around on the right. Watch them grow large as they approach, group and regroup as you shift your position. Relationships gradually emerge and sometimes assert themselves with finality. And that's your picture.

The business of making a photograph may be said in simple terms to consist of three elements: the objective world (whose permanent condition is change and disorder), the sheet of paper on which the picture will be realized, and the experience which brings them together.

The inner drama is the meaning of the exterior event.

However, I must stress that my own interest is immediate and in the picture. What I am conscious of and what I feel is the picture I am making, the relation of that picture to others I have made and, more generally, its relation to others I have experienced.

Almost inevitably there are tensions in the picture, tensions between the outside world and the inside world. For me, a successful picture resolves these tensions without eliminating them.

When I make a photograph I want it to be an altogether new object, complete and self-contained, whose basic condition is order (unlike the world of events and actions whose permanent condition is change and disorder).

The only other things I got from the abstract expressionists is the absolute belief that this canvas is the complete total area of struggle, this is the arena, this is where the fight is taking place, the battle. Everybody believes that, but you have to really believe that and work that way.

We look at the world and see what we have learned to believe is there. We have been conditioned to expect ... but, as photographers, we must learn to relax our beliefs ... if you look very intensely and slowly, things will happen that you never dreamed of before.

It is no longer a matter of expressing reality, but of expressing what one feels about reality.

The only nature I'm interested in is my own nature.