W. Eugene Smith, fully William Eugene Smith

W. Eugene
Smith, fully William Eugene Smith
1918
1978

American Photojournalist known for his brutally vivid World War II photographs

Author Quotes

I... made brash, dashing interpretive photographs which were overly clever and with too much technique… with great depth of field, very little depth of feeling, and with considerable 'success'.

Up to and including the moment of exposure, the photographer is working in an undeniably subjective way. By his choice of technical approach, by the selection of the subject matter...and by his decision as to the exact cinematic instant of exposure, he is blending the variables of interpretation into an emotional whole.

A Passion is in all great searches and is necessary to all creative endeavors.

If I can get them to think, get them to feel, get them to see, then I've done about all that I can as a teacher.

What uses having a great depth of field, if there is not an adequate depth of feeling?

An artist must be ruthlessly selfish.

In music I still prefer the minor key, and in printing I like the light coming from the dark. I like pictures that surmount the darkness, and many of my photographs are that way. It is the way I see photographically. For practical reasons, I think it looks better in print too.

With considerable soul searching, that to the utmost of my ability, I have let truth be the prejudice.

Available light is any damn light that is available!

I've never made any picture, good or bad, without paying for it in emotional turmoil.

Dear _______________ (an editor); P.S. In printing the photographs of the white-gowned Klan members I ran into considerable difficulty. There were several with uncovered faces and these faces were vividly dark in comparison to the white-white of the gowns that it was almost impossible to keep them from appearing black.

Many claim I am a photographer of tragedy. In the greater sense I am not, for though I often photograph where the tragic emotion is present, the result is almost invariably affirmative.

Each time I pressed the shutter release it was a shouted condemnation hurled with the hope that the picture might survive through the years, with the hope that they might echo through the minds of men in the future - causing them caution and remembrance and realization.

Most photographers seem to operate with a pane of glass between themselves and their subjects. They just can't get inside and know the subject.

Everyone likes a good quote - don't forget to share.

My photographs at best hold only a small length, but through them I would suggest and criticize and illuminate and try to give compassionate understanding.

Hardening of the categories causes art disease.

My pictures are complex and so am I. When I am almost symbolistic in writing, there is a more limiting difference is of accepting, while I can be even more complex in the photographs and people can usually accept them within the framework of their own limitations or lack of limitations – there is no dictionary meaning... they can look up for the photographic image and allow it to confuse them.

I [Smith] use literature, music and I try to get them [the students] to see in a small ways by teaching them responsibility. For instances, I had a little bottle that said SCOTCH on it and I kept ducking behind the desk to pour myself a drink from it. Everyone was wild, taking pictures of me, trying to sneak a picture of me sneaking a drink. After a while I said: “Okay, you’ve been photographing me drinking from this bottle, so you will distribute pictures to show that I drink while teaching. But you’ve never asked me what’s in the bottle. It’s a bottle of cider – you are very bad reporters!

Negatives are the notebooks, the jottings, the false starts, the whims, the poor drafts, and the good draft but never the completed version of the work... The completed version a print should be sufficient and fair return for a magazine's investment, for it is the means of fulfilling the magazine's purpose ,,,, The print and a proper one is the only completed photograph, whether it is specifically shaded for reproduction, or for a museum wall. Negatives are private, as is my bedroom.

I am an idealist. I often feel I would like to be an artist in an ivory tower. Yet it is imperative that I speak to people, so I must desert that ivory tower. To do this, I am a journalist—a photojournalist. But I am always torn between the attitude of the journalist, who is a recorder of facts, and the artist, who is often necessarily at odds with the facts. My principle concern is for honesty, above all honesty with myself.

Never have I found the limits of the photographic potential. Every horizon, upon being reached, reveals another beckoning in the distance. Always, I am on the threshold.

I am constantly torn between the attitude of the conscientious journalist who is a recorder and interpreter of the facts and of the creative artist who often is necessarily at poetic odds with the literal facts.

Photography is a small voice, at the best sometimes – just sometimes – one photograph or a group of them cab lure our senses into awareness. Much depends upon the viewer; in some, photographs can summon enough emotion to be a catalyst to thought… Someone – or perhaps many – among us may be influenced to heed reason, to find a way to right that which is wrong….The rest of us may perhaps feel a greater sense of understanding and compassion for those lives are alien to our own….Photography is a small voice….It is important voice in my life, but not the only one. I believe in it.

I can’t stand these damn shows on museum walls with neat little frames, where you look at the images as if they were pieces of art. I want them to be pieces of life!

Author Picture
First Name
W. Eugene
Last Name
Smith, fully William Eugene Smith
Birth Date
1918
Death Date
1978
Bio

American Photojournalist known for his brutally vivid World War II photographs