In assembling this group of portraits of women, I'm aware that I'm treading on dangerous ground. When I was in college, I learned to be distrustful of men's depictions of women. I remember seeing Garry Winogrand's book Women Are Beautiful in the school library and being shocked that it hadn't been defaced for its blatant objectification of women. But looking back, maybe I was too harsh. Whether one photographs men or women, it is always a form of objectification. Whatever you say about Winogrand, his depiction was honest.
I didn't want to pretend to be a conceptual artist that charges $10,000 for an experience. It's just not what I am. I'm a photographer and I make prints. And people buy a print, and I understand that. But I'm uncomfortable with buying an experience.
In a world where the 2 billionth photograph has been uploaded to Flickr, which looks like an Eggleston picture! How do you deal with making photographs with the tens of thousands of photographs being uploaded to Facebook every second, how do you manage that? How do you contribute to that? What's the point?
This is the same problem I have with digital photography. The potential is always remarkable. But the medium never settles. Each year there is a better camera to buy and new software to download. The user never has time to become comfortable with the tool. Consequently too much of the work is merely about the technology. The HDR and QTVR fads are good examples. Instead of focusing on the subject, users obsess over RAW conversion, Photoshop plug-ins, and on and on. For good work to develop the technology needs to become as stable and functional as a typewriter.