Best 2475 quotes in «photography quotes» category

I get totally out of myself. It's the closest I come to not existing, I think, which is the best - which is to me attractive.

I got a lot of flak originally for writing with photographs, because the great cliche in photography is that one photograph is worth a thousand words, and photographers are usually dodo birds anyway.

I got into photography because of the immediacy of the medium. I used to sit in front of a canvas for weeks trying to create something. Now I can see the image right away.

I got to work with Robert DeNiro once and it was a strange experience. Gwyneth Paltrow and I were doing Great Expectations movie together and we were complaining about what a mediocre film experience it was. DeNiro showed up on set and all of a sudden the director got better, the director of photography got better - everybody got more interested and excited. DeNiro isn't waiting for other people to create the environment that he wants, he brings it along with him.

I got really excited about finding new ways of using video, and the immediacy is different, in a way, than painting and photography. The creativity comes with the editing. You can layer and cut and paste. I really love that it's like another form of making my smaller collages but in video form.

I gravitate towards places where humans have been and are no more, to the edge of man's influence, where the elements are taking over or covering man's traces.

I guess I knew my dad was into photography, so a part of me was interested in picking it up to understand him a little better.

I guess that's what I was: a set of abs. And they lit the abs and shot the abs and sent the abs on their way. The photographer didn't look at my face once. I was humiliated.

I had a growing feeling that most of the best art of the world in painting and sculpture had been done, and that this newest form [photography] was more related to the progress and tempo of modern science of the eye.

I had my young eyes opened by the impersonal blood and guts of news photography. I was running the gamut every low man on the totem pole runs - country clubs to mass murder.

I had no real photography experience, thankfully. I consciously took a lot of crowd shots. I was influenced by Seattle photographer Charles Peterson, who always seemed to incorporate fans in his live band shots.

I had the attitude that I would work with this present-day material and do the best I could to describe it with photography, not intending to make any particular comment about whether it was good or bad or whether I liked it or not. It was just there, and I was interested in it. That's what I still do today.

I had to go. A spirit in my feet said 'go,' and I went.

I hate good taste. It's the worst thing that can happen to a creative person.

I hate it when people say, I'm an artist. I think, well, I'll be the judge of that. And I don't think artist is a job description. It's a critique, a favorable critique, that someone else might apply to your work. I guess in the art world I'm not exactly a photographer, but I do use photography.

I hate to say I'm a photographer, because I learned photography as I went along. But I also hate to say I'm a painter, a draftsman, even an artist. I think it's good when you're confused about what you are; it means you haven't defined yourself as an artist yet.

I have a burning desire to see what things look like photographed by me.

I have a deep respect and love for these tiny humans, and I hope to convey in my images a measure of the beauty that exists in all children.

I have all but killed myself for Photography. My passion for it is greater than ever. It's forty years that I have fought its fight... I am not fighting to make a 'name' for myself. Maybe you have some feeling for what the fight is for. It's a world's fight... All that's born of spirit seems mad in these days of materialism run riot.

I have always been fascinated by the life cycle, the way skin metamorphoses over time. I am mesmerized by skin and that's why I've been attracted to the nude. I do think people show their soul when they are stripped down psychically. There is something wondrous that happens when we relate on that level - and I am interested in that depth.

I have always found photography magical, and became more taken with it whilst modeling.

I have always felt that a lot of the most interesting work, not just mine but other people's, falls into [the] nether area, somewhere between the worlds of documentary and photojournalism (two very vague words) and the world of art. I think a lot of street photography falls into this nether area.

I have always loved the amateur side of photography, automatic photographs, accidental photographs with uncentered compositions, heads cut off, whatever. I incite people to make their self-portraits. I see myself as their walking photo booth.

I have been a witness, and these pictures are my testimony. The events I have recorded should not be forgotten and must not be repeated.

I have always thought that if I could turn back the pages of history and photograph one man, my choice would be Moses.

I have a Master's Degree in photography as a fine art, and I would call my work primarily conceptual. I don't carry cameras with me wherever I go. I get an idea of a subject matter I want to deal with and I pull out my cameras.

I have been heavily criticized in the past at magazines for my black-and-white photography and the aggressive punch - I prefer to call it strong emotion - to the pictures. When everything is virtually disposable I feel these pictures really stand out.

I have been photographing the portrait of an end of an era, as machines and computers replace human workers. What we have in these pictures is an archeology.

I have been using the art of photography to research the ways in which the pictorial strategies of the Nineteenth Century color the way in which the American landscape is apprehended by today's viewers.

I have never had any hero in my life or in photography. I just travel, I look and everything influences me. Everything influences me. I am quite different now than I was 40 years ago. For 40 years I have been traveling. I never stay in one country more than three months. Why? Because I was interested in seeing, and if I stay longer I become blind.

I have gradually confused photography and life and as a result of this I believe I am able to work out of myself at an almost precognitive level.

I have never taken a picture for any other reason than that at that moment it made me happy to do so.

I have often thought that if photography were difficult in the true sense of the term - meaning that the creation of a simple photograph would entail as much time and effort as the production of a good watercolor or etching - there would be a vast improvement in total output. The sheer ease with which we can produce a superficial image often leads to creative disaster.

I have problems with a lot of photography, particularly street photography and photojournalism - objectifying the other, finding the contempt and exoticism that you might feel within yourself or toward yourself and projecting it out to others. There can be an abusive power to photography, too.

I have people working together, doing different things: architecture, art installation, photography, publishing, and curatorial works and design.

I have the same themes over and over again. How I'm saying it keeps changing or growing.

I have to shoot three cassettes of film a day, even when not 'photographing', in order to keep the eye in practice.

I have to be as much diplomat as a photographer.

I have tried to bring about better communication between people. I believe that humanitarian photography is like economics. Economy is a kind of sociology, as is documentary photography.

I have very interesting hobbies like archeology and photography.

I hope my work isn't dismissed by the critics as illustration or photography.

I just got this new camera. It's very advanced - you don't even need it.

I hope that my work will encourage self expression in others and stimulate the search for beauty and creative excitement in the great world around us.

I joke around sometimes and say that the DP [director of photography] is like a shrink for the director, but there's some truth in there.

I just directed another picture called 'American Dream' with Nick Stahl. Just finished shooting principal photography right before I started ['Lincoln'].

I just think it's important to be direct and honest with people about why you're photographing them and what you're doing. After all, you are taking some of their soul.

I hope to be a producer, a musician, a painter, a photographer - I'm going to push myself to do as many things as I can and see where it goes.

I hope to stay unemployed as a war photographer till the end of my life.

I just picked up a camera without any kind of ambition to be good or bad. And especially without any ambition to make a living... My whole freedom working in photography comes because I say to myself, Let's see what is going on in this world. Let's find out. How do these people look?

I knew from the age of five what I wanted to do. The one thing I could do was draw. I couldn't draw that much better than some of the other kids, but I cared more and I wanted it badly.