Go here and feast your eyes:
I see my photographs as
meditations, it is as simple
as that. To be understood,
they must be experienced––
felt, seen, known. Consequently,
I often use the medium of the
landscape, for everyone, in some
small way, has some very personal
relation to the land––thus they are
ready (and willing) to come in
to look, if not into, at least at the landscapes I produce. I have
trapped them then!
For if l have made the concept of the photographs strong enough,
the viewer will begin to still himself for, indeed, I make Still
photographs — and with the coming stillness comes the
possibility of a deep meditational understanding and seeing.
And seeing leads to Vision. And my photographs are there
mainly as pointers, indications, of a vision of possibilities
where stillness and silence abound — and where Light is
understood to be a substantial reality.
My photographs are my greatest teachers. It is my hope
that they offer a moment of pleasure to my viewers —
and perhaps a tiny hit of (mutual?) understanding …
but, as always, I have no expectations.
Thomas Joshua Cooper
Life appears always fully present . . .
a brief weary smile, a twitch of the
hand, the fugitive pour of sun
through clouds. And not a tool, save
the camera, is capable of registering
such complex ephemeral responses,
and expressing the full majesty of
the moment. The impressionists tried
in vain to achieve the notation.
For, consciously or unconsciously, what they were striving to demonstrate
with their effects of light was the truth of moments; impressionism has ever
sought to fix the wonder of the here, the now. But the momentary effects of
lighting escaped them while they were busy analyzing; and their ‘impression’
remains usually a series of impressions superimposed one upon the other.
Stieglitz was better guided. He went directly to the instrument made for him.
express, full, majesty,
Paul Leopold Rosenfeld
(1890 – 1946)
American Journalist & Music Critic
I want to stroke the little girl’s cheek. Tell her she will be all right. Make everything all right. I want to curl up on the floor and cry. I want it all to go away.
But it will never go away. So I do what I always do. I absorb yet another dose of it. I expose a few frames of film and myself to every nuance of the horror of a child torn apart by shrapnel.
The photograph is grotesquely beautiful. I have turned a scream into music. — Sarajevo 1993
(1963 – )
Norwegian Documentary Photographer
© Diane Beaty
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