Best 2475 quotes in «photography quotes» category

Rather than a profession, photography has always been a passion for me, a passion closer to an obsession.

Realism and superrealism are what I'm after. This world is full of things the eye doesn't see. The camera can see more, and often 10 times better.

Reality offers us such wealth that we must cut some of it out on the spot, simplify. The question is, do we always cut out what we should?

Real photography is a wonderfully inclusive, democratic medium, whereas art photography is more often a private pursuit by conmen.

Remember that most people (those who are not photographers) don't even see the things that you missed. Many don't even look. Ergo, you are way ahead of the game.

Reputation is seeming; character is being. Reputation is manufactured; character is grown. Reputation is your photograph; There is a vast difference between character and reputation. Reputation is what men think we are; character is what God knows us to be. Reputation is seeming; character is being. Reputation is the breath of men; character is the inbreathing of the eternal God. One may for a time have a good reputation and a bad character, or the reverse ; but not for long.

Rockers are the nicest people to photograph. They have no inhibitions.

Satellite photography in the 1970's gave rise to the long-range weather forecast, a month at a time. This in turn gave rise to the observation that the long-range weather forecast was wrong most of the time. In turn, this gave rise to the dropping of the long-range weather forecast and to the admission that really accurate forecasting could only cover the next day or two, and not always then.

Scientists are usually nice, organized, logical people who are very cooperative. I always learn a lot of science while shooting science stories and it helps to be able to speak intelligently to a subject about his or her field of work, i.e., do your homework before the photography.

See, a painting is much cheaper than making a film. And photography is, you know, way cheap. So if I get an idea for a film, there are many ways to get it together and go realise that film. There's really nothing to be afraid of.

Searching is everything - going beyond what you know. And the test of the search is really in the things themselves, the things you seek to understand. What is important is not what you think about them, but how they enlarge you.

Seeing is more than a physiological phenomenon... We see not only with our eyes but with all that we are and all that our culture is. The artist is a professional see-er.

Seeing lesbian photography is just the tip of my radicalized clitoris. I have modeled for, commissioned, published, and fought for these pictures, and answered threats against them. I've seen the feminist movement bring these pictures to life, and I've seen that same movement try to suppress the liberating results.

Seeing is not enough; you have to feel what you photograph

See, I think our whole society is much too problem-solving oriented. It is far more interesting to participate in 'problem creation'... You know, ask yourself an interesting enough question and your attempt to find a tailor-made solution to that question will push you to a place where, pretty soon, you'll find yourself all by your lonesome - which I think is a more interesting place to be.

Sharpness is overrated.

Sharpness is a bourgeois concept

Since I'm inarticulate, I express myself with images.

She said the man in the gabardine suit was a spy I said 'Be careful his bowtie is really a camera'

So many times I've photographed stories that show the degradation of the planet. I had one idea to go and photograph the factories that were polluting, and to see all the deposits of garbage. But, in the end, I thought the only way to give us an incentive, to bring hope, is to show the pictures of the pristine planet - to see the innocence.

Since the background is as important as the subject, you mustn't let it default by chance. You must control not only vertical and horizontal, you must be aware of the depth of field (or lack of it) that you want in the background.

Since the photographic medium has been digitized, a fixed definition of the term photography has become impossible.

So-called "realist" photography does not capture the "what is." Instead, it is preoccupied with what should not be, like the reality of suffering for example.

Somebody said recently that the best thing a student could do was to get in some shows and publish a book; but nothing about becoming a human being, nothing about having important feelings or concepts of humanity. That's the sort of thing that is bad education. I'd say be a human being first and if you happen to wind up using photography, that's good for photography.

Some have said that if you take a great picture in color and take away the color, you'll have a great black-and-white picture. But if you're shooting something about color and you take away the color, you'll have nothing.

Somehow Photoshop and the ease with which one can produce an image has degraded the quality of photography in general.

So far as photography satisfied a wish, it satisfied a wish not confined to painters, but a human wish, intensifying since the Reformation, to escape subjectivity and metaphysical isolation - a wish for power to reach this world, having for so long tried, at last hopelessly, to manifest fidelity to another... Photography overcame subjectivity in a way undreamed of by painting, one which does not so much defeat the act of painting as escape it altogether: by automatism, by removing the human agent from the act of reproduction.

Some day there may be... machinery that needs but to be wound up and sent roaming o'er hill and dale, through fields and meadows, by babbling brooks and shady woods - in short, a machine that will discriminately select its subject and, by means of a skillful arrangement of springs and screws, compose its motif, expose the plate, develop, print, and even mount and frame the result of its excursion, so that there will be nothing for us to do but to send it to the Royal Photographic Society's exhibition and gratefully to receive the 'Royal Medal'.

Some objects and events may be photographed, others, if one is to render their true quality, should be painted or set to music, since their essence is more faithfully reproduced through imagination than by the journalistic report.

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.

Some people`s photography is an art. Mine is not. If they happen to be exhibited in a gallery or a museum, that`s fine. But that`s not why I do them. I`m a gun for hire.

Some photographs are like a Chekhov short story or a Maupassant story. They're quick things and there's a whole world in them. But one is unconscious of it while shooting.

Some people's photography is an art. Not mine. Art is a dirty word in photography. All this fine art crap is killing it already.

Something about photography is tied to a very specific relationship with the material world. It doesn't have to be, but the way I practice it, it is. So there's an act of observation, but it's not an act of objective recording. It's about framing something and seeing it and understanding that it's relational.

Something catches your eye, or your interest. You attack it in some way or observe it in some way, and try to put it in some kind of form and take a picture. It's as simple as that.

Some speak of a return to nature, I wonder where they could have been?

Sometimes as you work, you find that you are learning things about your own perceptions and motivations that are way below you consciousness. If you get lucky, you recognize what you are doing, but all too often we don't find the connection between our work and our own motivations.

Sometimes I photograph without looking through the viewfinder. I have mastered that well enough, it is almost as if I were looking through it.

Sometimes in news photography and so on, the pictures are a little bit dry, and put on the page and just set in a journalistic way in front of you.

Sometimes I think all my pictures are just pictures of me. My concern is...the human predicament; only what I consider the human predicament may simply be my own.

Sometimes I really want to paint somebody and I don't get a photograph that I want to work from.

Sometimes it’s not how much light you use to get an effect, it’s how little you use and still make it work. There are a lot of rules to be broken in photography, and you’ve got to have courage.

Sometimes you can tell a large story with a tiny subject.

Sometimes the simplest pictures are the hardest to get.

Sometimes they are a matter of luck; the photographer could not expect or hope for them. Sometimes they are a matter of patience, waiting for an effect to be repeated that he has seen and lost or for one that he anticipates.

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.

Somewhere in our search for reality we have passed something by, something important that we no longer find amid the bits and pieces of disassembled matter-something vital that we cannot build out of these parts. There is surely something else, some piece of divinity in us, something that was before the elements, and that owes no homage to the sun.

So successful has been the camera's role in beautifying the world that photographs, rather than the world, have become the standard of the beautiful.

So when I became interested in photography and further being inspired by the work that I saw of Ansel and others, it was a natural extension to go back to these places that I knew as a kid and explore them with my camera.

Speed, the fundamental condition of the activities of our day is the power of photography, indeed the modern art of today, the art of the split second.