Keith Carter Quotes

The full weight and mystery of your art rests upon your relationship to your subject matter.

I'm fond of implied narratives, oblique angles, and leaving a little room for the viewer to finish a picture.

Making these photographs has often seemed to me like a kind of dance. Often I have danced badly and the world has fallen apart at my feet. But sometimes the dance has gone well and my subject and I have moved together as if with shared purpose.

When I started using the extreme short depth of field and single point of focus, I was trying to replicate my changing eyesight. We have binocular vision; one eye perceives space from the other. I don't experience a scene visually at F32. It's more like F1.4.

Poetry at least in my own life, is really about your own mortality. Everything in poetry makes me think of my mortality. It is not a dark thing in life; it prepares you for the graceful things that happen in your life. It gives me a license to make any kind of picture I want with great courage.

I think there is an element of magic in photography - light, chemistry, precious metals - a certain alchemy. You can wield a camera like a magic wand almost. Murmur the right words and you can conjure up proof of a dream. I believe in wonder. I look for it in my life every day; I find it in the most ordinary things.

In the history of photography, one process has always replaced another. The tumultuous realignment that's going on in the photography now is really just a natural evolution. The irony is that none of the processes that have been replaced have disappeared. More people than ever are practicing every approach to shooting and printing.

I don't think science is necessarily incompatible with mystical or spiritual sensibilities. I often weigh them equally in my thinking, which sometimes finds itself into the work.

I like what Wallace Stevens said: "Poetry must almost successfully resist intelligence." I just change the word "poetry" to "my photographs".

I like small things, I like small moments that are almost elliptical, that are not necessarily linear; they're natural things that happen in the world, but if you look at them from a slight angle there's more than meets the eye.

I like to work in the real world, so I do a lot of searching or just simple looking. But I'm not above tweaking reality and making something up. I don't think there are any rules in art. It's not so much what you see as it is the significance you, the artist, see in it.

You are lucky if you have one or two epiphanies in your life, particularly a creative one.

I think the equipment you use has a real, visible influence on the character of your photography. You're going to work differently, and make different kinds of pictures, if you have to set up a view camera on a tripod than if you're Lee Friedlander with handheld 35 mm rangefinder. But fundamentally, vision is not about which camera or how many megapixels you have, it's about what you find important. It's all about ideas.

I love the history of photography and one process has always replaced another. However, very, very few have disappeared.

Your ideas come out of the way you conduct your life.

Sharpness is overrated.

I want to be made better personally. That is the gig.

How do you find a way to say what an extraordinary experience it is to be alive in this world? That is the kind of subject matter I try to work with.

The raw materials of photography are light and time and memory.

I don't just look at the thing itself or at the reality itself; I look around the edges for those little askew moments-kind of like what makes up our lives-those slightly awkward, lovely moments.

I don't know if I can articulate how I feel. Never in my wildest dreams did I think I would make it here.

At a fundamental level photography is much like pointing, and all of us occasionally point at things: look at that, look at that sailboat, look at that tree, etc. etc.