Best 2475 quotes in «photography quotes» category

I was a Catholic boy, I went to church every Sunday. A church has a certain magic and mystery for a child. It still shows in how I arrange things. It's always little altars.

I was always in front of the camera. My mom was really passionate about photography - I have pictures of my whole life. I've always just been in front of my mom's camera and it's always comfortable to me.

I was always painting when I was a kid. But then when I handled a camera when I was 17, that was it for me. I loved photography. I would work 4 or 5 hours a day. It was like a calling.

I was a make believe ethnographer: treating New Yorkers like an explorer would treat Zulus - searching for the rawest snapshot, the zero degree of photography.

I was asked by a student what my most significant accomplishment was at National Geographic, after thirty years, and I said that my career came to an appropriate close, and I still loved photography. Not everybody who spends their career at anything ends up fascinated and involved with it.

I was born in the '60s and grew up in the '70s - not exactly the best decade for food in British history. It was horrendous. It was a time when, as a nation, we excelled in art and music and acting and photography and fashion - all creative skills... all apart from cooking.

I was born on a tiny cot in southwestern Massachusetts during World War II. A sickly child, I turned to photography to overcome my loneliness and isolation.

I was brought up on art. My father thought I had a great hand at art and sent me to art school. But he did not want me to become a photographer.

I was coming to realize that the real magician was light itself.

I was drawn to photography as an extension of film, and the beauty of film is that it's a sensuous, fetishistic medium.

I was given a small camera as a wedding gift from a very dear friend. My first pictures were taken on my honeymoon. As soon as I became familiar with the camera, I was intrigued with the possibilities of expression it offered. It was like a discovery for me.

I was going round the world searching for an interesting place, when I realized that the place that I was in was already interesting.

I was going to go to a four-year college and be an anthropologist or to an art school and be an illustrator when a friend convinced me to learn photography at the University of Southern California. Little did I know it was a school that taught you how to make movies! It had never occurred to me that I'd ever have any interest in filmmaking.

I was invited to photograph Hollywood. They asked me what I would like to photograph. I said, Ugly men.

I was in the right place at the right time.

I was lucky enough to go to college for four years. At what was supposedly a hippie school with no tests and no grades, blah blah blah, I wasn't learning that. I was taking photography classes. That stuff just wasn't talked about. It was like, "Does this picture have the right about of grey in it?" It wasn't even an art school. It was a state-run school.

I wasn't imposing my presence on anyone, which is very important for a would- be journalist. I stayed back. Always let people be themselves.

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 was offered $100,000 for a print. Then I woke up.

I was twenty when I discovered war and photography. I can't say that I wanted to bear witness and change the world. I had no good moral reasons: I just loved adventure, I loved the poetry of war, the poetry of chaos, and I found that there was a kind of grace in weaving between the bullets.

I was really into writing short fiction and also photography when I was a kid.

I was struggling against the flypaper of other arts harnessing film to their own usages, which means essentially as a recording device or within the long historical trap of picture - by which I mean a collection of nameable shapes within a frame. I don't even think still photography, with few exceptions, has made any significant attempt to free itself from that.

I was there less than a year before I was assigned to the Paris bureau. I spent two years there and, in fact, before I even went on the staff I was sent to Europe to do assignments which they wouldn't normally do for a young photographer just starting out.

I work to attain a 'state of heart', a gentle space offering inspirational substance that could purify one's vision. Photography, like music, must be born in the unmanifest world of spirit.

I went back to photography in the 1990s. But from the 60s to the 90s I didn't really take any photographs at all, unfortunately. During that period I lived in France, I lived in England, I lived all over the place in different cities. I didn't take any photographs and because I felt I had really accomplished everything that I wanted to in photography during the period between 61 and 67.

I work alone. Humans are incredible, because when you come alone, they will receive you, they accept you, they protect you, they give you all things that you need, and they teach you all things you must know. When you come with two persons or three persons, you have a group in front of them. They don't discuss with the new persons what is important to them.

I work rather blindly. I have a theory that seems to work with me that some of the best things you ever do sort of come through you. You don't know where you get the impetus and response to what's before your eyes.

I would exchange every painting of Christ for one snapshot.

I would warn very sincerely against the pitfalls of copying photographs. A frozen, split-second bears little relationship to the continuing process of living reality. It is better to look, look again, and keep on looking.

I would like to see everything, look at everything, I want to be the view itself.

I would never understand photography, the sneaky, murderous taxidermy of it.

I would say that the off-frame effect in photography results from a singular and definitive cutting-off which figures castration and is figured by the click of the shutter.

I would strongly encourage anybody embarking on photography as a career to embrace and enjoy the whole process. Being a photographer can be a wonderful way to experience the world.

I would never censor something to please someone. I don't play games.

I would say that the emblematic photographic image is a picture from inside a room looking out. I think this defines photography. It's the metaphor for the notion of first sight. What one saw first.

James Franco, acting, teaching, directing, writing, producing, photography, soundtracks, editing - is there anything you can do?

Jesus would have been one of the best photographers that ever existed. He was always looking at the beauty of people souls. In fact Jesus was constantly making pictures of God in people's life by looking at their souls and exposing them to his light.

Just put on the lens and go.

Just someone trying to shoot in 70mm deserves the nomination, and he[Quentin Tarantino] is shooting interiors, like tight interior shots, for that matter. Obviously [Quentin] is the director and demanding the shots, but all credit for the beauty of that film [Hateful Eight] goes to the director of photography.

Just like zillions of children, album covers educated and informed me, and certainly did I later transpose organically, rather than by intent, those principles both in fashion design and photography.

Kodachrome, it gives us those nice bright colors Gives us the greens of summers Makes you think all the world's a sunny day, oh yeah! I got a Nikon camera, I love to take a photograph So momma, don't take my Kodachrome away.

Know - how is worthless unless guided by know - why and know - when.

Kodak sells film, but they don't advertise film; they advertise memories.

Landscapes, heads and naked women are called artistic photography, while photographs of current events are called press photography.

Let a man of genius make use [of photography] as it should be used, and he will raise himself to a height that we do not know.

Lately I've been struck with how I really love what you can't see in a photograph. An actual physical darkness. And it's very thrilling for me to see darkness again.

Laugh, love, dream, strive, smile, feel, joy, look, try, fail, read, walk, search, share, help, work, fun, learn, retry, sweat, cry, rest, wait, fear, hope, trust, pride... when we have lived all of these, our photography might stop being a record of what our camera sees and become an expression of what we as photographers feel.

Leica, schmeica. The camera doesn't make a bit of difference. All of them can record what you are seeing. But you have to see.

Let me here call attention to one of the most universally popular mistakes that have to do with photography - that of classing supposedly excellent work as professional, and using the term amateur to convey the idea of immature productions and to excuse atrociously poor photographs.

Let us... leave art to the artists, and let us try to use the medium of photography to create photographs that can endure because of their photographic qualities.