When you go to a great concert something that happens is there is a deep sense of communality and connectedness one to another – as though we are all looking to eachother and saying yeah, we get it, we’re all on one page.
BILL HENSONThere are no inherent limitations to the medium. There are just differences.
More Bill Henson Quotes
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All of those a requickly made decisions. The fact that you can see the images right away in a funny way makes the whole relationship more casual. I don’t want a casual relationship with my subject.
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Most of life is grey, with a little tiny bit of black and white.
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There’s something about the processional nature of the architecture, of the rooms connecting rooms. It’s just breathtaking.
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I have always found the suburbs very beautiful – the light, the change of seasons and so on. I am not so interested in the political dimensions of these things.
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As a boy I was obsessed with Egypt and Egyptology. I’m convinced it’s not that uncommon. A lot of 10 or 12 year old boys become obsessed with Egypt. It’s a bit like young girls and horses.
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It just struck me that one of the things about photography that made it such a compelling medium to deal with is that it is perhaps the most contradictory of mediums.
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What happens with experiences that really move us deeply, that really effect us? They make the world new again. What it does is it heightens our sense of mortality.
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There are no inherent limitations to the medium. There are just differences.
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When you shoot on film, you don’t know whether you’ve got it or not until you get the film processed, and so it changes the relationship we have with the subject whether it’s a landscape or a person in a so-called controlled environment in a chair in a studio in front of you.
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It was the dreamscape of the suburbs that interested me.
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Most of life is grey, with a little tiny bit of black and white. We’re always subject to what I call the compression industry, which is an attempt to compress a million shades of grey with a little bit of black and white to just a hundred, or to ten, or to one!
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I could be standing in the supermarket, and there is a person standing down the aisle, who is reading the back of a cornflakes box but everything about them is going “It’s me! I’m the one you want! I am the necessary subject. This is it!”
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You have the literalness of a glass on a table – and at the same time of that evidential authority that you can’t get around, there is the possibility of universalizing the subject – of getting the whole world into the picture.
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It’s a profoundly different thing to be able to refer to the images you are taking at the time and check them out on a laptop that is plugged into your Hasselblad and go “oh no, do it again, do it again”.
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I didn’t have any witticisms to land on suburbia. I was really just interested in how beautiful it was. I felt it was like a dreamscape and once I understood that was how I needed to approach it the dream started to expand in unusual ways.
BILL HENSON