Wynn Bullock Quotes

Whenever I have found myself stuck in the ways I relate to things, I return to nature. It is my principal teacher, and I try to open my whole being to what it has to say.

What I feel is that the picture-taking process, anyway a greater part of it, is an intuitive thing. You can't go out and logically plan a picture, but when you come back, reason then takes over and verifies or rejects whatever you've done. So that's why I say that reason and intuition are not in conflict-they strengthen each other.

My pictures are never pre-visualized or planned. I feel strongly that pictures must come from contact with things at the time and place of taking. At such times, I rely on intuitive, perceptual responses to guide me, using reason only after the final print is made to accept or reject the results of my work.

When I photograph, what I'm really doing is seeking answers to things.

Light to me is perhaps the most profound truth in the universe. My thinking has been deeply affected by the belief everything is some form of radiant energy.

I totally disagree with the belief that nature was only made for the use of people. Human beings are not the center of the universe, and, if they are to sustain themselves, it is vitally important for them to be awakened to how closely they are linked with the rest of nature.

For me photography has been a profession, an avocation. Now it has become a way of life.

As sounds in a musical composition can be used not to express physical objects but ideas, emotions, harmonies, rhythmic orders and most any expression of the human mind and spirit, so light can be used visually to express the mind and spirit.

Searching is everything - going beyond what you know. And the test of the search is really in the things themselves, the things you seek to understand. What is important is not what you think about them, but how they enlarge you.

A person is quite different from a tree or rock or stream. By introducing the nude into my pictures, I started perceiving all the things I was photographing in new ways. In contrast or opposition to each other, things became much more significant and interesting, revealing many more qualities than I had ever dreamed of knowing and expressing. By using the nude, I stopped thinking in terms of objects.

As I became aware that all things have unique spatial and temporal qualities which visually define and relate them, I began to perceive the things I was photographing not as objects but as events. Working to develop my skills of perceiving and symbolizing these event qualities, I discovered the principle of opposites. When, for example, I photographed the smooth, luminous body of a woman behind a dirty cobwebbed window, I found that the qualities of each event were enhanced and the universal forces which they manifested were more powerfully evoked.

The camera is not only an extension of the eye but of the brain. It can see sharper, farther, nearer, slower, faster than the eye. It can see by invisible light. It can see in the past, present, and future. Instead of using the camera only to reproduce objects, I wanted to use it to make what is invisible to the eye - visible.

Human beings to me are as much a part of nature as trees or birds, and the unclothed body expresses this belongingness directly and powerfully.

Everything went together perfectly, and this is what I mean by knowing. I didn't have to analyze anything. I just recognized what was in front of me. All I had to do was set up and take the picture.

Theoretical scientists who probe the secrets of the universe and philosophers who seek answers to existence, as well as painters such as Paul Klee who find the thoughts of men of science compatible with art, influence me far more than most photographers.

You can expand your reality by developing new ways of perceiving.

I didn't want to tell the tree or weed what it was. I wanted it to tell me something and through me express its meaning in nature.

In a photograph, if I am able to evoke not alone a feeling of the reality of the surface physical world but also a feeling of the reality of existence that lies mysteriously and invisibly beneath its surface, I feel I have succeeded. At their best, photographs as symbols not only serve to help illuminate some of the darkness of the unknown, they also serve to lessen the fears that too often accompany the journeys from the known to the unknown.

Creativity is an ode to life. It is not a form of entertainment. It is a form of joy.

At 42, I decided to become a photographer because it offered a means of creative thought and action. I didn't rationalize this, I just felt it intuitively and followed my intuition, which I have never regretted.

Mysteries lie all around us, even in the most familiar things, waiting only to be perceived.

For me a nude photograph should be erotic, not devoid of emotion. The body is a sensual thing, sensuality being one of its most beautiful and meaningful qualities.

A thing is not what you say it is or what you photograph it to be or what you paint it to be or what you sculpt it to be. Words, photographs, paintings, and sculptures are symbols of what you see, think, and feel things to be, but they are not the things themselves.

The urge to create, the urge to photograph, comes in part from the deep desire to live with more integrity, to live more in peace with the world, and possibly to help others to do the same.

If you stop searching, you stop living, because then you're dwelling in the past. If you're not reaching forward to any growth or future, you might as well be dead.

I now measure my growth as a photographer in terms of the degrees to which I am aware of, have developed my sense of, and have the skills to symbolize visually the four-dimensional structure of the universe.

I love the medium of photography, for with its unique realism it gives me the power to go beyond conventional ways of seeing and understanding and say, This is real, too.

There is nothing mysterious about space-time. Every speck of matter, every idea, is a space-time event. We cannot experience anything or conceive of anything that exists outside of space-time. Just as experience precedes all awareness and creative expression, the visual language of our photographs should ever more strongly express the fourth dimensional structure of the real world.

What you see is real - but only on the particular level to which you've developed your sense of seeing. You can expand your reality by developing new ways of perceiving.

I feel all things as dynamic events, being, changing, and interacting with each other in space and time even as I photograph them.