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I discovered that this camera was the technical means in photography of communicating what the world looks like in a state of heightened awareness. And it's that awareness of really looking at the everyday world with clear and focused attention that I'm interested in.

Stephen Shore

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Stephen Shore
Age: 77
Born: 1947
Born: October 8
Photographer
New York City
New York
Stephen Eric Shore
Looks
Awareness
Discovered
Mean
Interested
Camera
Really
Looking
Photographer
Like
Clear
Cameras
World
Attention
Communicate
State
Focused
Heightened
Means
Everyday
Communicating
States
Photography
Technical

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I was photographing every meal I ate, every person I met, every waiter or waitress who served me, every bed I slept in, every toilet I used.
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A lot of the photography I'm doing and thinking about is directed at Instagram.
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As not a native, I have the advantage of not seeing scenes habitually. I can see things fresh.
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Even in ordinary reproduction [photography] verges on facsimile.
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I don't know how much a photograph can add to a biography, the way a film or writing or narrative medium could. Because it's a frozen image.
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If you've met one person with autism, you've met one person with autism.
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I think most serious photographers understand that there's this large gap between the world and how the world looks through a photograph.
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I do what feels natural, but I can't say I haven't thought about it.
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I'm always interested in finding new aesthetic problems to deal with and challenge myself, even if the aesthetic problem is one of content.
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I think I misunderstood Instagram and just thought it was people photographing their friends, and discovered there were a number of people, a number of artists, who were taking it very seriously and doing very imaginative work with Instagram as the medium.
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Why can't a photograph be all four things at once? -be an art object be a document, what ever that means exactly, but deal with content be a formalist exploration and operate on some, metaphor is not the right word but, resonant level.
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I wanted to make pictures that felt natural, that felt like seeing, that didn’t feel like taking something in the world and making a piece of art out of it.
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I meet young artists and it becomes clear that with some the main motivation is getting a show in Chelsea. It strikes me that this is very different to the way it was for me, which was that I wanted to understand photography and the world and myself.
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The danger is that you can wind up doing tourist pictures. I want to see it fresh and see the little bits of everyday life that a native might take for granted, but that are special to the place, while at the same time, not taking a picture that would be a tourist cliché.
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I had a creative hot streak in the 1940s and since then I’ve been pot boiling.
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I have to be reminded, “’It’s your son’s birthday party. Bring a camera.’ And then, when I’m there, ‘Take a picture,’ because it doesn’t occur to me to use it as this memorializing thing.
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