Best 2475 quotes in «photography quotes» category

My early self-portraits appeared effortlessly and seemed like equivalents for my deeper emotions. Many critics remarked that the images had an almost other-worldly haunting presence. For me, they were simply my own reality at that point in my life. What I was trying to reveal was my inner soul in all its fragile complexity. Without knowing it, I was trying to peel back the layers that shroud and bind us all as we struggle to reveal our own authentic selves.

My emotions, instincts, and interests are all with nature.

My enthusiasm for joining the New York Film Academy is predicated on my personal explorations into video as well as a sense of responsibility to share my extended experience of photography with committed students in both mediums.

My experience says that if you put out a lot of personal work that's good, it tends to attract high dollar commercial work. But to be clear - I don't create art to get high dollar projects, I do high dollar projects so I can create more art.

My father did advertising photography.

My father taught me photography. It was his hobby, and we had a small darkroom in the fruit cellar of our basement. It was the kind of makeshift darkroom that was only dark at night.

My favorite type of photography - apart from fashion photography - is journalism, which in a way documents something that exists in a very precise moment, that didnt exist in a moment before and will not exist ever again. This has influenced my work a lot - I usually try to make my images look like they just exist, like no effort was put into it.

My favorite part about costume designing is the artistry of the job. You meet with a director and a visionary to discuss ideas. You research the characters and figure out the components of their look through your own vision. You create a color palette for a film, television or stage medium and discuss it with the director of photography who then lights your colored subjects.

My first priority when taking pictures is to achieve clarity. A good documentary photograph transmits the information of the situation with the utmost fidelity; achieving it means understanding the nuances of lighting and composition, and also remembering to keep the lenses clean and the cameras steady.

My first reaction at the very idea of this interview was to refuse to talk about photography. Why dissect and comment a process that is essentially a spontaneous reaction to a surprise?

My friend who I went to boarding school with was interested in photography. He insisted that I buy a camera and marched me downtown.

My generation came at a time when photography was advancing by leaps and bounds, creating the impulse to experiment and seek new approaches.

My images are unashamedly idyllic and romantic, a kind of enchanted Africa. They're my elegy to a world that is steadily, tragically vanishing.

My intention, certainly, is to create something which is aesthetic but many things are implicit in the work that I do. For me photography is writing, it is history; it can be aesthetic, it can be many things though it does not have to be art.

My introduction to photography and a lot of how I developed aesthetically was through '50s and early-'60s fashion magazines like Harper's Bazaar and Vogue.

My interest in photography did not begin with books or mentors, or with any burning desire to see the world through a camera. It evolved from an intense devotion to mountains and wilderness that eventually shaped all the parts of my life and brought them together.

[My mother] died a few months ago, and when she was dead I kissed her lips. For me it was a beautiful moment. From then on I started living with her, asking her from time to time if she was alright, if she was pleased with me. But these things are far greater than photography, and I probably shouldn't be speaking about them.

My only interest in photographing is photography.

My paintings have an ongoing dialogue with photography. There are many painters who would say the same, I'm sure. The difference is that I'm thinking more about the temporal aspect of photography, rather than the visual.

My passion is to open people's eyes to the sea using the power of photography as a universal language to convince the unconvinced among us that the oceans are fragile and finite.

My photographs are not really about photography. They are about editing. I use photography but they are all taken from the TV screen. Anybody can do that, but it's the order I put the pictures in to try to create a new kind of movie, something that you can put on your wall.

My photography is often a sociological look at American culture and it's been very well published in the UK.

My photographs are not pure: they are a seething wealth of imperfection.

My pictures are about a search for a moment—a perfect moment. To me the most powerful moment in the whole process is when everything comes together and there is that perfect, beautiful, still moment. And for that instant, my life makes sense.

My photography has really always been about what I feel I'm getting out of it. What people on the outside get doesn't concern me.

My point is that meaning is always personal, changeable and subjective. There is no 'correct' interpretation of a photograph.

My photographs are proof of what happened. When I go to Russia, sometimes I meet ex-soldiers... They say, 'We came to liberate you....' I say: 'Listen, I think it was quite different. I saw people being killed.' They say: 'No. We never... no shooting. No. No.' So I can show them my Prague 1968 photographs and say, 'Listen, these are my pictures. I was there.' And they have to believe me.

My photography comes from absolute matter-of-fact situations but also from a deep curiosity that I possess for people, for what they do and how they think.

My passport photo is one of the most remarkable photographs I have ever seen- no retouching, no shadows, no flattery-just stark me.

[My photography teacher] gave me the Mexican Day Books of Edward Weston and just blew me away with this work. The fact that you could be this fabulous visual artist, with all this milieu of people like Diego Rivera and you could sleep with these gorgeous, amazing women, that you could live that life - that photography could deliver you that life.

My pictures must first be beautiful, but that beauty is not enough. I strive to convey an underlying edge of anxiety, of isolation, of fear.

My programme, The Art of Creative Expression, empowers young people with tools to express themselves. We teach photography, art and drama, but it's not just the medium that's important, it's about what you are trying to say.

My pictures are about everyday life combined with theatrical effect. I want them to feel outside of time, to take something routine and make it irrational. I’m always looking for a small moment that is a revelation

Mysteries lie all around us, even in the most familiar things, waiting only to be perceived.

My way of photographing is my way of life. I photograph from my experience, my way of seeing things.

My sympathies have always been with the everyday people... the center of my photography.

My taking pictures means I'm taking a series of pictures which become an essay and then get extended into a book. That's what's exciting, to take an idea and work it through to completion.

My true program is summed up in one word: life. I expect to photograph anything suggested by that word which appeals to me.

My use of the medium - photography - is in some ways traditional.

My theory of composition? Simple: do not release the shutter until everything in the viewfinder feels just right.

My whole artistic life has been devoted to battling myself and my ability to externalize my deepest emotions. As I have gotten older, the work has become more direct, perhaps reflecting the fact that for the first time in my life I feel really free. I have been fascinated with wings all my life. I have had an obsession with transcendence, the need to push forward and metaphorically fly.

My wife Mariana is a good photographer too and, like me, she just picks up a camera and takes a picture when she sees something, rather than looking too deeply into it.

My 'work' is about seeing not about ideas.

My work is my language and I don't discuss it very easily. It's difficult for me to verbalize my feelings, or to intellectualize my work. In fact, it used to annoy me when Ansel Adams and Paul Strand yak-yak-yakked about what photography meant, and I told them so.

My wife convinced me to try doing the restorations digitally. I thought I could learn the photo editing software over the Thanksgiving weekend. It took me until May of the next year before I sold anything I did with it.

My work is very eclectic. I write books that range from writing fiction, writing fable where I am very directly trying to imagine alternate worlds, to writing about [Buckminster] Fuller who was the ultimate world man creating all sorts of alternate worlds and believing that they were imminent to my own work of - for instance, a project that I've been working on for some year and a half, two years now that continues to evolve has been what I call Deep Time Photography.

Nature photography... that acknowledges what is wrong, is admittedly sometimes hard to bear - it has to encompass our mistakes. Yet in the long run, it is important; in order to endure our age of apocalypse, we have to be reconciled not only to avalanche and hurricane, but to ourselves.

... nature photographs downright bore me for some reason or other. I think: 'Oh, yes. Look at that sand dune. What of it?'

Nobody ever discovered ugliness through photographs. But many, through photographs, have discovered beauty.

Never ever say the word shoot when you are taking a picture with a camera because a camera is not a violent weapon.