Best 2475 quotes in «photography quotes» category

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

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

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 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 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 be as much diplomat as a photographer.

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

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

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

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

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

I know that my mind is so A.D.D., and I want instant gratification - and photography can provide me with that - but at some point, I want to make an independent feature.

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 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.

I know the expression love bloomed is metaphorical, but in my heart in this moment, there is one badass flower, captured in time-lapse photography, going from bud to wild radiant blossom in ten seconds flat.

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 I liked art. I knew I liked photography. I remember seeing photos of Linda Evangelista in Italian Vogue as a teenager, and at the time I didn't know who she was. There were two photos - one shot by Fabrizio Ferri and another one by Steven Meisel. I didn't know who any of those people were. I think it was the first summer I was modeling, I saw these magazines sitting out and looked at them. I remember thinking, These are the kind of images I want to make.

I know some photographs that are extraodrinary in their power and conviction, but it is difficult in photography to overcome the superficial power or subject; the concept and statement must be quite convincing in themselves to win over a dramatic and compelling subject situation.

I left film because I felt that photography was my art. It was something I could do on my own, whereas film was so collaborative. I thought as a photographer I could make something that was artistic and that was mine, and I liked that. And it wasn't until I got back into film and I have very small crews and I could do very tiny filmmaking that wasn't 100 people that I still felt that I was making something artistic as a filmmaker. So, you know, I'm an artist, and whether it's photography or film, I want my voice to be there and I think my voice is very strong in this film.

I like photographers-you don't ask questions.

I like getting my ideas from the things of now. I am very conscious of the moment, of images that belong to this moment instead of another period. Fashion is really a reflection of our lives. You see women today and they don't do their hair up; they all wear their hair undone. So you have to reflect that in your photography .

I like photography because it is a reality medium, unlike drawing which is unreal. I like to mess with reality...to bend reality. Some of my works beg the question of is it real or not?

I like small things, I like small moments that are almost elliptical, that are not necessarily linear; they're natural things that happen in the world, but if you look at them from a slight angle there's more than meets the eye.

I like capturing stuff that is disappearing - that’s the point of photography. What I am photographing is an imaginary place that never existed, but is connected to something that has already been.

I like photography and I write; I also write music. One day I would like to direct [films] as well.

I like taking photographs, because I like life. And I like photographing people best of all, because most of all I love humanity.

I like the drawings. And as a photography fan myself, I would look at Helmut Newton or Irving Penn and like to see the initial notes or drawings, to see where the ideas grew from. Also my sketches are key to my work because I came to realise early on that by doing drawings, I could formulate a plan of what I was thinking of - I could take control and direct the work.

I like there to be a joke in practically every photo I take. Nobody has the right to make photography boring.

I like things that have to do with what is real, elegant, well presented and without excessive style. In other words, just fine observation.

I like the idea that the sacred photo framing process is equally violatible and I think that's partly a carryover from the way I deal with structures to the way I deal with photography.

I like the stories. I like the narratives that you get in fashion photography. And I like what the clothes do to the body - the patterns and stripes and all of that.

I like the simple things. I don't know why. I'm that way. I came from a simple place.