
LensWork #83 (The Bill Jay's Best of EndNotes issue)

” Levitt’s deadpan spunkiness emerges throughout the essay. She is a proud reporter, insisting on the exterior, matter-of-fact, impersonal quality of her work, writes Gopnik. But she refused to become a journalist. “A reporter,” according to Levitt, “says what she sees; a photojournalist sees what everyone else is saying.”
Bill Jay • LensWork #83 (The Bill Jay's Best of EndNotes issue)
As Woody Allen remarked, “We stand today at a crossroads: one path leads to despair and utter hopelessness. The other leads to total extinction. Let us hope we have the wisdom to make the right choice.”
Bill Jay • LensWork #83 (The Bill Jay's Best of EndNotes issue)
In the ancient Greek world there was no need for contemplation. It was agreed. The greatest sin of all was hubris: an exaggerated pride which leads one to claim more than is one’s due.
Bill Jay • LensWork #83 (The Bill Jay's Best of EndNotes issue)
Sloppy writing leads to muddy thinking which leads to stupid actions which leads to bad photography.
Bill Jay • LensWork #83 (The Bill Jay's Best of EndNotes issue)
At a family dinner, the cook cut off the ends of the ham before putting it in the oven. “Why did you do that?,” asked a guest. “I always have, because my mother always did it,” said the cook, “Go ask her.” The mother answered, “I cut off the ends because my mother did, so go ask her.” The grandmother answered, “I cut off the ends because I did not
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These sights are ephemeral, fleeting treasures that have been offered to me and to me alone. No other person in the history of the world, anywhere in all of time and space, has been granted this gift to be here in my place. And I am privileged, through the camera, to take this moment away with me. That is why I photograph.”
Bill Jay • LensWork #83 (The Bill Jay's Best of EndNotes issue)
So I ask you, again, what evidence exists that arts students become “better” human beings? Any one?
Bill Jay • LensWork #83 (The Bill Jay's Best of EndNotes issue)
” Unfortunately, it may be that war photography of any real power is already dead. In the past few wars in which the USA was involved, photographers were not allowed access to the conflict, but became the mere transmitters of military propaganda. In a way, this is proof of photography’s potency; it must be powerful if the military takes such great
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“Unless we know living things, how will we come to love them? Unless we learn to love them, we will not have the will to conserve, protect, or sustain them. And, to complete the argument, without them we will not exist.”