Pfahl Quotes

#1. I want to make photographs whose very ambiguity provokes thought, rather than cuts it off prematurely. I want to make pictures that work on a more mysterious level, that approach the truth by a more circuitous route.

John Pfahl

#2. I've never questioned the integrity of an umpire. Their eyesight, yes.

Leo Durocher

#3. Paths that lead to the crossroads of life; otherwise known as "transition."
Transition is the tension present between struggle and grace.

Deborah Brodie

#4. The fact is, I'm gay, always have been, always will be, and I couldn't be any more happy, comfortable with myself, and proud.

Anderson Cooper

#5. I go, Andronicus: and for thy hand
Look by and by to have thy sons with thee.
[Aside]
Their heads, I mean. O, how this villany
Doth fat me with the very thoughts of it!
Let fools do good, and fair men call for grace. 1340
Aaron will have his soul black like his face.

William Shakespeare

#6. People think the camera steals their soul. Places, I am convinced, are affected in the opposite direction. The more they are photographed (or drawn and painted) the more soul they seem to accumulate.

John Pfahl

#7. It is what it is and is not something else.

Pierdomenico Baccalario

#8. When God gives you wealth, it is not a blessing; it is a test. He wants to test your faith in Him plus your desire and willingness to share. Be careful with the love of money.

Felix Wantang

#9. When it comes to combating imperialism we are all Stalinists.

Nikita Khrushchev

#10. I've always identified with the misfits.

Stephan Jenkins

#11. While making my picture window photographs, I came to think that every room was like a gigantic camera forever pointed at the same view.

John Pfahl

#12. As Estelle Jussim wrote, it is almost impossible for a single photograph to state both the problem and the solution.

John Pfahl

#13. I gave up on the delusion that these players enjoy soccer as much as I do, that they play for the love of the game.

Rabih Alameddine

#14. It would have been possible to structure my photographs in such a way that no indicators of the present were discernible. However, I wanted to incorporate into the project as a whole the jostling of time-frames I would feel as I set up my tripod on various rocky promontories.

John Pfahl

#15. I have been using the art of photography to research the ways in which the pictorial strategies of the Nineteenth Century color the way in which the American landscape is apprehended by today's viewers.

John Pfahl

#16. I often wondered why I was attracted to certain landscapes and not others and why my photographs (and depictions by other artists) looked the way they did, Archetypes imprinted on my mind started me on a search ...

John Pfahl

#17. The things I encounter that I call elves or gnomes, it's just a gloss. I mean, they're small, and they have the archetype. They're more like leprechauns, and this maybe raises a racial issue.

Terence McKenna

#18. Every economy is uncertain. Referring to this or any economy as 'uncertain' is an unnecessary and pessimistic redundancy.

Bo Bennett

#19. Photography, of course, is the perfect medium for the investigation. It can reveal the truth of present day specifics and particularities, while at the same time, by conscious choice of lighting and pictorial structure, suggest the aesthetic legacy of the past.

John Pfahl

#20. I became wary of simple interpretations that assumed fixed and final meanings.

John Pfahl

#21. You're a respectable woman, dearie, and her reputation is a woman's wealth."
"Her wealth," Tenar repeated in the same blank way; then she said it again: "Her wealth. Her treasure. Her hoard. Her value ...

Ursula K. Le Guin

#22. What Ann Druyan said: Compressed into a minute-long segment, the brain waves of a woman newly in love sound like a string of firecrackers exploding.

Jenny Offill