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What i believe is really good in the so-called documentary approach to photography is the addition of lyricism.[this quality] is usually produced unconsciously and even unintentionally and accidentally by the cameraman.
-Walker Evans
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What I Believe Is Really Good In

Walker Evans
What i believe is really good in the so-called documentary approach to photography is the addition of lyricism.[this quality] is usually produced unconsciously and even unintentionally and accidentally by the cameraman.
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Photography Believe Quality

More From Walker Evans

When you say documentary, you have to have a sophisticated ear to receive that word. it should be documentary style, because documentary is police photography of a scene and a murder ... that's a real document. you see, art is really useless, and a document has use. and therefore, art is never a document, but it can adopt that style. i do it. i'm called a documentary photographer. but that presupposes a quite subtle knowledge of this distinction.
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If you're a great documentary filmmaker, it doesn't necessarily mean that you're a great narrative filmmaker. there are fantastic documentary filmmakers that can't direct actors. you don't have to do that in a documentary, if it's a real documentary.
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Quality doesn't mean deep blacks and whatever tonal range. that's not quality, that's a kind of quality. the pictures of robert frank might strike someone as being sloppy-the tone range isn't right and things like that-but they're far superior to the pictures of ansel adams with regard to quality, because the quality of ansel adams, if i may say so, is essentially the quality of a postcard. but the quality of robert frank is a quality that has something to do with what he's doing, what his mind is. it's not balancing out the sky to the sand and so forth. it's got to do with intention.
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When i move from being a cameraman to being a director i looked at a lot of other cameramen who tried to make the move. and in each case they moved up their camera operator to be the dp, which really meant they didn't want to give up being the dp, and really wanted to do both. and my feeling was if i was going to succeed as a director, i had to just be a director and give up the safety net of being a cameraman.
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When you're making a real documentary, you shoot it and the movie happens. you don't make - this sounds corny - you don't make a documentary, a documentary makes you. it really does.
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I don't think i can break down any doors, but i'm thinking, "maybe i can be a cameraman, because i love the cameras." and the cameraman would show me how to thread the film, how to repair it, the lenses. that's when you become, like, goony goo-goo about it. you breathe and eat camera, and all of a sudden, you don't want anything else in the world. you finally know, "this is my calling." when you're passionate about something, it doesn't become work. it's art and it's fun. it's arduous, it's sweaty.
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