Thomas Struth
[Photographer, b. 1954, Geldern, Germany, lives in Dusseldorf.]

 I wanted to make photographs in which everything was so complex and detailed that you could look at them forever and never see everything. 
 In certain cases, I asked people to stay fixed in their position, but the effect was already lost. Those photographs don’t work, because photography is so sensitive a medium that one can’t lie using it. (On his “Museum Photographs”) 
 [I]n general, my work is less about expanding the possibilities of photography than about re-investing it with a truer perception of things by returning to a simple method, one that photography had from the beginning of its existence. 
 I’m interested in photographs that have no personal signature. 
 The point at which the photograph ceases to function as a metaphor is the point at which it is free to propose an experiential model. 
 For me, making a photograph is mostly an intellectual process of understanding people or cities and their historical and phenomenological connections. At that point the photo is almost made, and all that remains is the mechanical process. 
 The image of an empty landscape accommodates the medium of photography in so far as it always involves the present, despite being historically referential. 
 [When] I am taking a photograph, I am conscious that I am constructing images rather than taking snapshots. Since I do not take rapid photographs it is in this respect like a painting which takes a long time where you are very aware of what you are doing in the process. Exposure is only the final act of making the image as a photograph. 
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