"I don't get wrapped up in technique and the like"
About this Quote
A quiet flex hides inside that shrug. When Fay Godwin says, "I don't get wrapped up in technique and the like", she is refusing the photographer-as-engineer persona: the fetish for lenses, emulsions, f-stops, and the little competitions of craft that can turn seeing into scorekeeping. Coming from a figure whose work is formally rigorous, the line lands as both disarming and corrective. She is not confessing indifference; she is demoting technique to its proper place: a tool, not the point.
The subtext is a defense of attention. Godwin photographed landscapes and human interventions in them with an unsentimental clarity that depends on judgment more than gadgetry: where to stand, when to return, what weather will tell the truth, how to let a horizon feel like a moral question. Her images often sit at the junction of beauty and damage, especially in the British countryside and in work adjacent to environmental debates. In that context, obsessing over technique can read like an alibi, a way to stay safely inside aesthetics while sidestepping consequence.
There's also a cultural swipe here at a certain gatekeeping strain in photography, where technical mastery is treated as virtue and spontaneity as amateurism. Godwin implies the opposite: that overinvestment in method can crowd out the harder task of developing a point of view. The phrase "and the like" is doing work too, lumping technique in with the whole anxious apparatus of validation. What matters is the picture's intelligence: its ability to make you look again, and then feel implicated.
The subtext is a defense of attention. Godwin photographed landscapes and human interventions in them with an unsentimental clarity that depends on judgment more than gadgetry: where to stand, when to return, what weather will tell the truth, how to let a horizon feel like a moral question. Her images often sit at the junction of beauty and damage, especially in the British countryside and in work adjacent to environmental debates. In that context, obsessing over technique can read like an alibi, a way to stay safely inside aesthetics while sidestepping consequence.
There's also a cultural swipe here at a certain gatekeeping strain in photography, where technical mastery is treated as virtue and spontaneity as amateurism. Godwin implies the opposite: that overinvestment in method can crowd out the harder task of developing a point of view. The phrase "and the like" is doing work too, lumping technique in with the whole anxious apparatus of validation. What matters is the picture's intelligence: its ability to make you look again, and then feel implicated.
Quote Details
| Topic | Art |
|---|---|
| Source | Help us find the source |
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