Best 2475 quotes in «photography quotes» category

This gesture is one of the motifs of modernity's turn against the principle of imitating nature, that is to say, imitating predefined morphological expectations. It is still capable of perceiving message-totalities and autonomous thing-signals when no morphologically intact figures are left - indeed, precisely then. The sense for perfection withdraws from the forms of nature - probably because nature itself is in the process of losing its ontological authority. The popularization of photography also increasingly devalues the standard views of things. As the first edition of the visible, nature comes into discredit. It can no longer assert its authority as the sender of binding messages - for reasons that ultimately come from its disenchantment through being scientifically explored and technically outdone. After this shift, 'being perfect' takes on an altered meaning: it means having something to say that is more meaningful than the chatter of conventional totalities. Now the torsos and their ilk have their turn: the hour of those forms that do not remind us of anything has come. Fragments, cripples and hybrids formulate something that cannot be conveyed by the common whole forms and happy integrities; intensity beats standard perfection.

This is almost always the case: A piece of art receives its f(r)ame when found offensive.

This prolific and inventive photographer (Edward Steichen) must be given credit for virtually inventing modern fashion photography, and as the tohousands of high-quality original prints in the Conde Nast archives prove, only Irving Penn and Richard Avedon have since emerged as serious historical rivals.

Those static images have the uncanny ability to jar the memory and bring places and people back to life. They bridge the present with the past and validate as real what the passage of time has turned into hazy recollections. Were it not for them, my experiences would have remained as just imperfect memories of perfect moments.

Through photography and image I have been afforded the privilege of sharing the stories and myths of people's lives with others. The process for me became self-revelatory. It was a process of soul-making, something all humans are engaged in, no matter their endeavor. I saw a part of myself in each person I photographed. I came to realize, through the alchemical process of living, that each life is important, no matter how little that life seems to offer.

Time is the sole photographer of all the times, from the Big Bang till the possible Big Crunch!

Tina Modotti and EdwardWeston opened an upscale portrait studio and became involved in the avant-garde community of San Angel, a fashionable southern suburb in Mexico City, which was at one time a weekend retreat for Spanish nobility. It wasn’t until about sixty years ago that this still-quaint district became an integral part of Mexico City. Tina, as usual, modeled and romped in the nude, this time for Diego Rivera, an internationally acclaimed artist. In 1926, Diego’s wife Lupe Marín, accused him of having an affair with Tina and insisted that he not see her again. Not being daunted by his wife’s insistence, Diego frequently hung out with Tina and her younger friend Frida Kahlo, who in turn also enjoyed Diego’s company. It was all just part of the wild times in San Angel, however it probably led to Diego and Lupe’s separation and ultimate divorce.

To consult the rules of composition before making a picture is a little like consulting the law of gravitation before going for a walk.

Toen fotograferen nog iets bijzonders was en een afdruk relatief duur lachte iedereen die op de foto ging. Alsof de foto zo meer waard werd.

To get from the tangible to the intangible (which mature artists in any medium claim as part of their task) a paradox of some kind has frequently been helpful. For the photographer to free himself of the tyranny of the visual facts upon which he is utterly dependent, a paradox is the only possible tool. And the talisman paradox for unique photography is to work "the mirror with a memory" as if it were a mirage, and the camera is a metamorphosing machine, and the photograph as if it were a metaphor…. Once freed of the tyranny of surfaces and textures, substance and form [the photographer] can use the same to pursue poetic truth" (Minor White, Newhall, 281).

To me, the world and art of photography is to capture emotion, feelings and moments; and share it with the world. I master the art when I am capable of awaking emotion in other people through my images.

To get the best view of life, you have to reach heights above the life.

To take photographs is to hold one's breath when all faculties converge in the face of fleeing reality. It is at that moment that mastering an image becomes a great physical and intellectual joy. To take photographs means to recognize—simultaneously and within a fraction of a second—both the fact itself and the rigorous organization of visually perceived forms that give it meaning. It is putting one's head, one's eye, and one's heart on the same axis.

To remember is to rewrite. To photograph is to replace. The only reliable memories, I suppose, are the ones that have been forgotten. They are the dark rooms of the mind. Unopened, untouched, and uncorrupted.

To the degree its ephemeral, the social photo does the opposite: it interrupts the traditional photographic mode of fixing the present as impending history, positing instead a captured moment that is indifferent to such recording.

To photograph people is to obligate them in some way to face things they weren't expecting to.

To take a picture is to have an interest in things as they are, in the status quo remaining unchanged, to be in complicity with whatever makes a subject interesting, worth photographing-including, when that is the interest, another person's pain or misfortune.

Trauma and pain are the foundations of art. I believe that. When tragedy strikes, however, a muralist or a watercolorist has the opportunity to be a human being in the moment and an artist afterward. Faced with the death of a loved one, a sculptor or portraitist can first grieve, suffer, and heal--then create. Most artists go through life this way. They can react normally to the trials and tribulations of the human experience. They can pass through the world with compassion and comradeship. They can make their art later. Outside, elsewhere, beyond. But photography is immediate. It does not offer the luxury of time. Faced with blood, death, or transformation, a photographer has no choice but to reach for the camera. An artist first, a human being afterward. Photography is a neutral record of all events, a chronicle of things both sublime and terrible. By necessity, this work is made without emotion, without connection, without love.

Walking the streets with camera in hand is akin to being on a treasure hunt as a child.

True photographs tend to remain on the streets, the story almost about to enter the edge of the frame of the snapshot or the shutter closing a moment too late, the story having just abandoned the frame.

Tuttavia non voleva passare per una fotografa sociale. Non più. Adesso, lavorando di tecnica e di fantasia, inseguiva forme distorte e illusionismi ottici. Così facendo sperava di riuscire a svelare il lato invisibile della vita e degli uomini. Si augurava di diventare tanto brava da ricreare la realtà fino a trasformarla in una sur-realtà.

Unlike cooking, photography kept you on your toes. It was chaotic and human -- utterly unpredictable. to capture an unposed face you had to wait for it. It was spear fishing. you had to move between the competing rhythms of the world and strike.

Vanity is by far my favorite of all sins, and the camera lens is the ultimate vanity mirror. The camera captures all moods and nuances; immortalizes the soft and silky continuum that is humanity. Those still life moments seem so fluid, so representative of continuity. They are a single moment captured, yet an eternity expressed. All your youth; all your ages, captured and expressed in a single click. Of all the indulgences, vanity is certainly my favorite which we should otherwise resist, but are inexplicably captivated by and addicted. What other animal would spend so much time pouting and preening for its reflection? Only humanity would participate in such self-adoration. You would think we have the most colorful feathers or softest of manes. Rather, we are a naked biped that feels incomplete without some decorative element, accessory, or embellishment of the self. We are intoxicated by the image of the body, no different than we are seduced by fine wines, foods, or mind altering elements. We devour the skin, and peel away clothes as if they were the skin of some tropical fruit, covering a colorful and juicy interior. We hunt for bodily pleasures, and collect them as prizes; show them off in social situations as if our companions were some sort of extended adornment to ourselves. We are revealed in our sensuality. To touch beneath the surface; to connect beyond facades, that unattainable discourse between individuals is put tentatively within reach in intimacy. To capture those moments is to capture the essence of what makes us human, and what ultimately sets us above and aside from the rest of nature. Capturing humanity in its most extravagant expressions is intoxicating. Vanity is by far my favorite sin, and it is an endless tale as infinite as humanity. Every person is but a stitch in a giant tapestry.

Vos 10 000 premières photographies seront les pires.

War is a terrible thing which incurs suffering for everyone involved in it. This book is not about taking sides. It is not about passing moral verdicts. Whatever your personal views may be, it’s unquestionable that Erwin Rommel was an important historical figure. This photo collection is significant because it sheds new light on his personality, allows us to view him from a creative standpoint, and adds a groundbreaking dimension to the history of World War II.

We drove 22 miles into the country around Farmington. There were meadows and apple orchards. White fences trailed through the rolling fields. Soon the sign started appearing. THE MOST PHOTOGRAPHED BARN IN AMERICA. We counted five signs before we reached the site. There were 40 cars and a tour bus in the makeshift lot. We walked along a cowpath to the slightly elevated spot set aside for viewing and photographing. All the people had cameras; some had tripods, telephoto lenses, filter kits. A man in a booth sold postcards and slides -- pictures of the barn taken from the elevated spot. We stood near a grove of trees and watched the photographers. Murray maintained a prolonged silence, occasionally scrawling some notes in a little book. "No one sees the barn," he said finally. A long silence followed. "Once you've seen the signs about the barn, it becomes impossible to see the barn." He fell silent once more. People with cameras left the elevated site, replaced by others. We're not here to capture an image, we're here to maintain one. Every photograph reinforces the aura. Can you feel it, Jack? An accumulation of nameless energies." There was an extended silence. The man in the booth sold postcards and slides. "Being here is a kind of spiritual surrender. We see only what the others see. The thousands who were here in the past, those who will come in the future. We've agreed to be part of a collective perception. It literally colors our vision. A religious experience in a way, like all tourism." Another silence ensued. "They are taking pictures of taking pictures," he said.

We are all photographers, that’s how we remember things; with pictures in our minds. Some of us have good taste and passion to make it an art form and just a few warriors who know the technicalities and marketing make a living out of it.

We are living in a moment where we have broken the equilibrium of the planet. We are not paying attention to our intuitive side. We only pay attention to our reason. We have become an urban animal

We don’t wish the day away. We embrace every second. Every new sunrise brings the possibility of possibilities.

What do we feel when we look at a good photograph? We just want to be there, right at the exact moment that photo taken!

We make, see, and love films, not digitals. To convert all of our movies, home videos, theaters, photographs and television to digital would be like telling a painter to throw away his brushes and canvas for an I-Pad. Celluloid isn't just nostalgic, it's an art form and, like it or not, it's superior to digital. It lasts much longer, it provides grain and brighter colors, and it takes more effort so that it produces something wonderful. With the inferior binary codes, pixels and untested shelf-life of digital files, plus the fact that these days anyone with a digital camera, even a two-year-old, can make a video and pollute the world with self-photography and cat pictures, film has a lot more integrity and worth than digital.

We photographers are a despicable bunch. We take photographs. The best of us do not show people as they wish to be seen, instead, we show people as we imagine they really are.

We sometimes take photos (or record a video) so that we can later see what was happening while we were busy taking photos (or recording a video).

What I am or am not wearing does not correlate with my competency as a professional, a mother, or a feminist role model. My clothes do not define me and nor does my nakedness. I define me.

We should strive to focus our lens on what connects us as humans as opposed to our differences. In doing so, not only can we challenge the Orientalist and colonial aspects of traditional photographic narratives, but we can also create a new visual legacy marked by equitable discourse.

We travel with our thoughts to great lands.

What I am or am not wearing does not correlate with my competency as a professional, a mother, or a feminist role model. My clothes don't define me and neither does my nakedness. I define me.

When the reality looks magnificent, a real art of photography has only one choice: To capture this beauty magnificently!

What was the barn like before it was photographed?' he said. 'What did it look like, how was it different from other barns, how was it similar to other barns? We can't answer these questions because we've read the signs, seen the people snapping the pictures. We can't get outside the aura. We're part of the aura. We're here, we're now.

When a photo of a person looks deep into your spirit and tells you thousand stories….. Stories from your past even before you existed, then the photo is way above any description.

Whenever we look at a photograph, the memories in the photograph become our memories as well!

When I take a picture of a derelict sign, I already begin to see and find the patterns and shapes that will form the final piece. Once I get the image in the studio, I begin to layer the patterns created, making sure to save the patterns I particularly like. I never lose a layer of work during this process; I simply continue to build and modify those patterns that appeal to me. Digital Camera, 2017

when they asked me : why you still you use this old photo? my answer : photo? it's not a simple photo, it's a cover of a book that i can remember his story, page by page.

When we are reading, a voice comes to us as in the dark and whispers, "Imagine!" Samuel Beckett as told by Bill Moyer in the Foreword he wrote for, The Public Library: A Photographic Essay by Robert Dawson. Afterword by Ann Patchett

When we look at the old photographs, we always ask three main questions: Are they alive? If they are, where are they? And finally, what is their life story? Photography is an art of creating many questions in the mind of the viewer!

When you crop a photo, you tell a lie.

When you're taking photographs of people, creating the “perfect scenery” is always secondary. It's much more important to capture the emotions. Especially when there's true love.

When your heart jumps every time your camera locks focus...You've become a photographer.

When you take the picture of the people, you take the picture of the whole stories of their past because every person is nothing but a combination of their entire past stories!

When you raise the camera to your eye you become responsible for contextualizing the history of the person you are photographing. It is critical that photographers take that responsibility as seriously as they do the photograph itself. Stories need to be approached with intellectual curiosity rather than a mere visual curiosity. It is also critical they consider the people they are photographing as collaborators, not “subjects.