Best 2 476 of Photography quotes - MyQuotes
No, I don't work here, I'm taking pictures of messy bathrooms for a photo essay on the American West. But I'm always up for clean, so if you want to pitch in, I've got Pine Sol and a sponge in my car... It's that VW microbus parked next to the dumpster, and you don't need a key, just pull hard.
It's one thing to make a picture of what a person looks like, it's another thing to make a portrait of who they are.
What you see is real - but only on the particular level to which you've developed your sense of seeing. You can expand your reality by developing new ways of perceiving.
To chart a course, one must have a direction. In reality, the eye is no better than the philosophy behind it. The photographer creates, evolves a better, more selective, more acute eye by looking ever more sharply at what is going on in the world. Like every other means of expression, photography, if it is to be utterly honest and direct, should be related to the life of the times-the pulse of today. The photograph may be presented as finely and artistically as you will, but to merit serious consideration, must be directly connected with the world we live in.
Not only has photography so thoroughly saturated our visual environment as to make the invention of visual images seem archaic, but it is also clear that photography is too multiple, too useful to other discourses, ever to be wholly contained within traditional definitions of art.
At exhibition openings always praise the chicken for laying eggs; you can wring its neck later.
Most of Arbus's work lies within the Warhol aesthetic, that is, defines itself in relation to the twin poles of boringness and freakishness; but it doesn't have the Warhol style. Arbus had neither Warhol's narcissism and genius for publicity nor the self-protective blandness with which he insulates himself from the freaky nor his sentimentality. It is unlikey that Warhol, who comes from a working-class family, ever felt any ambivalence toward success which afflicted the children of the Jewish upper middle classes in the 1960s. To someone raised as a Catholic, like Warhol (and virtually everyone in his gang), a fascination with evil comes much more genuinely than it does to someone from a Jewish background. Compared with Warhol, Arbus seems strikingly vulnerable, innocent--and certainly more pessimistic. Her Dantesque vision of the city (and the suburbs) has no reserves of irony. Although much of Arbus's material is the same as that depicted in, say, Warhol's Chelsea Girls (1966)...For Arbus, both freaks and Middle America were equally exotic: a boy marching in a pro-war parade and a Levittown housewife were as alien as a dwarf or a transvestite; lower-middle-class suburbia was as remote as Times Square, lunatic asylums, and gay bars. Arbus's work expressed her turn against what was public (as she experienced it), conventional, safe, reassuring--and boring--in favor of what was private, hidden, ugly, dangerous, and fascinating. These contrasts, now, seem almost quaint. What is safe no long monopolizes public imagery. The freakish is no longer a private zone, difficult of access. People who are bizarre, in sexual disgrace, emotionally vacant are seen daily on the newsstands, on TV, in the subways. Hobbesian man roams the streets, quite visible, with glitter in his hair.
You couldn't make a cheap drama. That would be too low-budget. Drama has to have good photography and well-known actors.
Photos represent primarily a seductive but deleterious short cut.
I'm not constantly looking for the "right" in my thoughts. I am, actually, scared of absolute “rights”. Therefore, I don't think my book will appeal to people who seek concrete formulas from me to be happy and who have designed their lives mechanically. But I do believe my book can give something to people who live their lives going from information to information like a bee, who depend on their own syntheses as the outcomes and have flexible thought, and who could be an "individual".
With a camera like that you don't believe you're in the masterpiece business. It's enough to be able to peck at the world.
I don't have anything to say in any picture. My only interest in photography is to see what something looks like as a photograph. I have no preconceptions.
Get yourself in trouble. If you get yourself in trouble, you don't have the answers. And if you don't have the answers, your solution will more likely be personal because no one else's solutions will seem appropriate. You'll have to come up with your own.
I still think photographers should be lashed out at. They should be put in a cage where you can poke them with a stick for a quarter. But not in a hostile way, just for giggles. They really are on the attack against mankind; it's a disease. They should be helped somewhere. But I'd still like to poke them with a stick.
Pictures should never be posed. They are 'revealed' so must be accepted as they are. Left alone.
It's the subject matter that counts. I'm interested in revealing the subject in a new way to intensify it. A photo is able to capture a moment that people can't always see.
As photographers, we live through things so swiftly. All our experience and training is focused toward snatching off the highlights... That all significant perfect moment, so essential to capture, is often highly perishable. There may be little opportunity to probe deeper.
Photoghraphic projects can be as short as an afternoon or as long as a lifetime.
Above all, it's hard learning to live with vivid mental images of scenes I cared for and failed to photograph. It is the edgy existence within me of these unmade images that is the only assurance that the best photographs are yet to be made.
For spiritual companions I have had the many artists who have relied on nature to help shape their imagination. And their most elaborate equipment was a deep reverence for the world through which they passed. Photographers share something with these artists. We seek only to see and to describe with our own voices, and, though we are seldom heard as soloists, we cannot photograph the world in any other way.
I wasn't very ambitious. I think that's the solution. I just took things as they came. I wouldn't say I didn't have any problem, but I didn't care. I didn't think I was going to save the world by doing photography as some of these people do. I was just having a good time doing it, and so I still had a good time no matter what I had to photograph.
I never had any intention nor interest in being an artist, but when I made work I realized that this was my language. What I had to say needed to be said in this way. I always loved taking photographs - but never considered myself a photographer. I have tremendous respect for photographers. I do use a camera and a photo as a basis for a lot of my work, but I use it as a means to attain an image to work from. The actual photography in my work is a monochromatic photograph. I'll photograph something and extract a color that will then be the background for a painting.
Invention in photography is so laborious as to be in most instances perverse.
It's nothing but a matter of seeing, thinking, and interest. That's what makes a good photograph. And then rejecting anything that would be bad for the picture. The wrong light, the wrong background, time and so on. Just don't do it, not matter how beautiful the subject is.
Photography is an elegiac art, a twilight art. Most subjects photographed are, just by virtue of being photographed, touched with pathos.
Big game photography in Africa is mainly done from a vehicle, so then I feel I might as well take the lot.
Lailah Gifty Akita
We travel with our thoughts to great lands.
I can tell you for me it goes on forever. There are some things you can't ever find out. You can't find out in one life either.
The ultimate role of photography as a contemporary language of visual communication consists of its capacity to slow down our fast and chaotic way of reading images.
J. M. Coetzee
That was why, later on, he began to lose interest in photography: first when colour took over, then when it became plain that the old magic of light-sensitive emulsions was waning, that to the rising generation the enchantment lay in a techne of images without substance, images that could flash through the ether without residing anywhere, that could be sucked into a machine and emerge from it doctored, untrue. He gave up recording the world in photographs then, and transferred his energies to saving the past.
A painting shouldn't be just a picture, it should be a philosophy.
I'm a big believer in practical and location photography.
All smiles for the camera are fake.
I take more to the subject than to my ideas about it. I am not interested in any idea I have had, the subject is so demanding and so important.
I have a dream… photography allows me to share it with you.
Some of my pictures are poem-like in the sense that they are very condensed, haiku-lik. There are others that, if they were poetry, would be more like Ezra Pound. There is a lot of information in most of my pictures, but not the kind of information you see in documentary photography. There is emotional information in my photographs.
There are people who like photography; there are people who are worrying about what's going to happen with the dollar. They want to get anything that seems hard. I don't know, but I think it's got to do with economics. Now and then you get somebody who buys a picture because he likes it.
Photography is a language more universal than words.
I like photography and I write; I also write music. One day I would like to direct [films] as well.
The camera does not know what it takes; it captures materials with which you reconstruct, not so much what you saw as what you thought you saw. Hence the best photography is aware, mindful, of illusion and uses illusion, permitting and encouraging it - especially unconscious and powerful illusions that are not usually admitted on the scene.
Sometimes without shooting a picture germinates in your head. Other times, you keep taking pictures of the same thing and watch the images mature and grow.
It cannot be too plainly stated that it is quite unimportant whether photography produces 'art' or not. Its own basic laws, not the opinions of art critics, will provide the only valid measure of its future worth.
Grain is the brush stroke of photography.
The fact that few painter-fine-artists used photography in their work made it appealing.
Photography is the typical means of expression of a society founded on a civilization of technicians, conscious of the aims it has set for itself... Its power of exactly reproducing external reality, a power inherent in its technique, lends it a documentary character and makes it appear as the most faithful and impartial process for the reproduction of social life.
When I was younger I used to be really into photography, and I still am, I just don't really get to do it besides taking my own artists photos and stuff like that.
Photographers should follow their own judgment, and not the fads and dictates of others. Photography is still a very new medium and everything is allowed and everything should be tried and dared... Photography has no rules. It is not a sport. It is the result which counts, no matter how it was achieved.
A good snapshot stops a moment from running away.
From a literary standpoint, I've been loving Raymond Carver's short stories, William Carlos Williams' poems, Richard Siken's 'Crush', John Fante, and Jim Harrison's book of ghazals. I love film and photography too, so many of my songs are very image rich from those influences.
If you're not shooting in the right direction, it doesn't matter how well you're shooting.