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.
BILL HENSONWhat 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.
More Bill Henson Quotes
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On practical level I can’t pick up the camera until I think I know what I want. I don’t wander around. It’s almost impossible for me to pick up a camera… it’s really hard.
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No medium is more limited than any other. It’s what a person does with it. We could talk about the differences between music and literature and photography, sure, but it really comes down to what a person does.
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It was the dreamscape of the suburbs that interested me.
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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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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.
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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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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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Most of life is grey, with a little tiny bit of black and white.
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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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There’s something about the processional nature of the architecture, of the rooms connecting rooms. It’s just breathtaking.
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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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I was always amazed at how beautiful the light was. At different times of the day the landscape becomes a different place. Dawn and dusk, it’s a different place.
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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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There are no inherent limitations to the medium. There are just differences.
BILL HENSON