RALPH GIBSON

I'm too impatient to use a tripod.

Traditionally, photography has dealt with recording the world as it is found. Before photography appeared the fine artists of the time, the painters and sculptors, concerned themselves with rendering reality with as much likeness as their skill enabled. Photography, however, made artistic reality much more available, more quickly and on a much broader scale.

I embrace the abstract in photography and exist on a few bits of order extracted from the chaos of reality.

I believe that the medium of photography prevails entirely as an act of faith in the souls of those who love and practice it. And so every photograph becomes another subtle variation on the theme of the medium itself.

I have been a photographer all my life....and have made photographs of many things and for many reasons. But one thing that becomes more and more apparent is that I am simply only as good as my next photograph. That's the one that counts the most....For this reason I find it a delight to face a new day, and to develop that new roll of film. It's a great way to live.

Because art as a pursuit, as a concept, as an ideal, constantly elevates one above the pragmatic, one is inclined to discuss art in heightened terminologies. For me, it is just what I do all day long.

I'm interested in producing truncated shapes in proportion to the frame and composition, shapes that are preferably luminous. I'm not interested in the full-figure. I want to abstract forms.

My enthusiasm for joining the New York Film Academy is predicated on my personal explorations into video as well as a sense of responsibility to share my extended experience of photography with committed students in both mediums.

It occurs to me that at the beginning one works passionately to learn photography. This takes years, and the craft is usually formed during this period. Then as time passes one finds oneself more in the role of serving the medium... Then, as in the example of several masters that I have been privileged to know personally, it appears that by having devoted oneself totally to the medium, one becomes photography.

First you study photography, then you practice photography, then you serve photography, and finally one becomes photography.

In the history of photography, we have many masterpieces in terms of black and white books. You have Bresson's 'Decisive Moment,' Frank's 'The Americans'... many masterpieces. But there is nothing to this caliber in color. Well, I think I'll waltz with my muse and hope that I might be able to produce something on this order in color.

Because art as a pursuit, as a concept, as an ideal, constantly elevates one above the pragmatic, one is inclined to discuss art in heightened terminologies. For me, it is just what I do all day long.

First you study photography, then you practice photography, then you serve photography, and finally one becomes photography.

One of the reasons I love to come to Paris is because the decorative arts are so refined that I am always walking through one proscenium into another frame.

One night I was on my [Navy] ship... on my first cruise crossing the North Atlantic in a horrible storm, chained to the rails so I wouldn't fall overboard. In this lightning and thunder and hail, in this misery, I shouted at the heavens with my little squeaky voice and said, Someday I'm going to be a photographer! It was as big an epiphany as any man ever had.

Traditionally, photography has dealt with recording the world as it is found. Before photography appeared the fine artists of the time, the painters and sculptors, concerned themselves with rendering reality with as much likeness as their skill enabled. Photography, however, made artistic reality much more available, more quickly and on a much broader scale.

I believe that the medium of photography prevails entirely as an act of faith in the souls of those who love and practice it. And so every photograph becomes another subtle variation on the theme of the medium itself.

I have been a photographer all my life....and have made photographs of many things and for many reasons. But one thing that becomes more and more apparent is that I am simply only as good as my next photograph. That's the one that counts the most....For this reason I find it a delight to face a new day, and to develop that new roll of film. It's a great way to live.

The French have a different take on photography than Americans do. They consider photography to be absolutely parallel to literature. That often makes for a deeper perception of the work.

I'm too impatient to use a tripod.

I'm interested in producing truncated shapes in proportion to the frame and composition, shapes that are preferably luminous. I'm not interested in the full-figure. I want to abstract forms.

When I was working with Robert Frank, he told me that there was absolutely no relationship between cinema and photography. I challenge that. Surely what you know as a photographer must impact how you set up your shots.

My enthusiasm for joining the New York Film Academy is predicated on my personal explorations into video as well as a sense of responsibility to share my extended experience of photography with committed students in both mediums.

I embrace the abstract in photography and exist on a few bits of order extracted from the chaos of reality.

It occurs to me that at the beginning one works passionately to learn photography. This takes years, and the craft is usually formed during this period. Then as time passes one finds oneself more in the role of serving the medium... Then, as in the example of several masters that I have been privileged to know personally, it appears that by having devoted oneself totally to the medium, one becomes photography.