Best 2475 quotes in «photography quotes» category

A good snapshot stops a moment from running away.

A good print is really essential. I want to take strong documentary photographs that are as good technically as any of the best technical photographs, and as creative as any of the best fine-art photographs. [...] I don't want to just be a photo essayist; I'm more interested in single images...ones that I feel are good enough to stand on their own.

A hundredth of a second here, a hundredth of a second there-even if you put them end to end, they still only add up to one, two, perhaps three seconds, snatched from eternity.

A landscape image cuts across all political and national boundaries, it transcends the constraints of language and culture.

...all along I've had an ambivalent relationship to photography - but as to whether I thought it an art form, or a craft, or a technique, well, I've always been taken with Henry Geldzahler's answer to that question when he said, I thought it was a hobby.

All aspects of photography interest me and I feel for the female body the same curiosity and the same love as for a landscape, a face or anything else which interests me. In any case, the nude is a form of landscape. There are no reasons for my photographs, nor any rules; all depends on the mood of the moment, on the mood of the model.

All art is a vision penetrating the illusions of reality, and photography is one form of this vision and revelation.

All I care about these days is painting — photography has never been more than a way into painting, a sort of instant drawing.

All I wanted was to connect my moods with those of Paris. Beauty pains and when it pained most, I shot.

All I really wanted to do was wildlife photography.

All important pictures embody something that we do not yet understand.

All my photographs are about meetings and about coups de foudre - love at first sight. To do that type of photography, one must wipe the canvas clean to prepare for chance encounters, be open and aware to such moments, otherwise it becomes a cliché - already seen and expected.

Allow yourself to lose your way.

All photographs aspire to the condition of being memorable - that is, unforgettable.

All photography is propaganda.

All photography is Pop, and all photographers are crazy... they feel guilty since they don't have to do very much - just push a button.

All technical refinements discourage me. Perfect photography, larger screens, hi-fi sound, all make it possible for mediocrities slavishly to reproduce nature; and this reproduction bores me. What interests me is the interpretation of life by an artist. The personality of the film maker interests me more than the copy of an object.

All the best ideas come out of the process; they come out of the work itself.

All we did was to turn back the time to a photography of precision which is superior to the human eye.

A lot of people seem to think that art or photography is about the way things look, or the surface of things. That's not what it's about for me. It's really about relationships and feelings...it's really hard for me to do commercial work because people kind of want me to do a Nan Goldin. They don't understand that it's not about a style or a look or a setup. It's about emotional obsession and empathy.

A lot of the photography I'm doing and thinking about is directed at Instagram.

A lot of photography is making records of people, as objects, friends. It's like organizing a wardrobe - in terms of size etc.

A lot of people think that when you have grand scenery, such as you have in Yosemite, that photography must be easy.

Although I get a lot of ideas from things that have happened in my life, I see the final product as a place where my imagination meets my experience. What I love about photography is that nothing is really as it seems.

Always remember to make room to shoot what you love. It's the only way to keep your heart beating as a photographer.

Always shoot it now. It won't be the same when you go back.

Always wait for the trigger. The trigger is the final part of the puzzle, the reason you want to shoot.

A Ming vase can be well-designed and well-made and is beautiful for that reason alone. I don't think this can be true for photography. Unless there is something a little incomplete and a little strange, it will simply look like a copy of something pretty. We won't take an interest in it.

A man with a camera was always suspected of being a spy. Moreover, the Jews did not want to be photographed, due to a misunderstanding of the prohibition against making graven images (photography had not been invented when the Torah was written!). I was forced to use a hidden camera.

A movie is painting, it's photography, it's literature - because you have to have the screenplay - it's music. Put a different soundtrack to a comedy and it's a tragedy.

Among the most compelling truths in some of the early photographs is their implication of silence.

A movie is painting, it's photography, it's literature - because you have to have the screenplay - it's music. Put a different soundtrack to a comedy and it's a tragedy. A movie combines all those forms and forces you to pay attention for two hours with a group of people.

... a mysterious intersection of chance and attention that goes well beyond the existential surrealism of the 'decisive moment'.

And no photographs taken with the aid of flashlight either, if only out of respect of the actual light—even when there isn't any of it.

And even being in the middle of it, at the LVMH group with Dior, there are certain parts of it that I'm just not really in, because it's not in me or my nature. The whole scene around it, the events, the photography ... It's never really been my thing. But I don't take a critical position on people who are very much about that either.

And I don't like having my picture taken. I'm almost like an old African in that sense. I think it steals a bit of the soul.

And only the photographer himself knows the effect he wants. He should know by instinct, grounded in experience, what subjects are enhanced by hard or soft, light or dark treatment.

And friends of mine that had photography class in high school would develop the film and make prints and I'd take them back to the track and give 'em away or try and sell them. Much to my parents' dismay, I majored in photography in college.

And if a day goes by without my doing something related to photography, it's as though I've neglected something essential to my existence, as though I had forgotten to wake up. I know that the accident of my being a photographer has made my life possible.

And I was very successful at baby photography... Strange isn't it? Because some of my portraits of babies were - I used dramatic lighting, shadow lighting, and I didn't use flash. We didn't have flash in those days, we just had floodlights, and I was photographing babies as I would an object - an inanimate object, for that matter.

And that desire-the strong desire to take pictures-is important. It borders on a need, based on a habit: the habit of seeing. Whether working or not, photographers are looking, seeing, and thinking about what they see, a habit that is both a pleasure and a problem, for we seldom capture in a single photograph the full expression of what we see and feel. It is the hope that we might express ourselves fully-and the evidence that other photographers have done so-that keep us taking pictures.

And young people who are learning digital skills discover that the real challenge is coming up with an image that resonates, first of all, with your self and hopefully, with an audience. They can learn all these new techniques and think that they're easier to use, but creating great images isn't about the tools.

And yet, in a superficial sense, it is true that the camera does not "lie": given a chance, it will faithfully render everything within the field of view of the lens and show it precisely as it is.

An unnoticed corner of the world suddenly becomes noticed, and when you notice something clearly and see it vividly, it becomes sacred. (On Robert Frank's photography)

A new era in the physiological investigation of linguistic sounds was opened up by X-ray photography.

Anthropology... has always been highly dependent upon photography... As the use of still photography - and moving pictures - has become increasingly essential as a part of anthropological methods, the need for photographers with a disciplined knowledge of anthropology and for anthropologists with training in photography has increased. We expect that in the near future sophisticated training in photography will be a requirement for all anthropologists. (1962)

Any familiarity with photographic history shows that manipulation is integral to photography.

Apart from the traditional paintings I also dabble with a little photography.

Any photographer worth his/her salt - that is, any photographer of professional caliber, in control of the craft, regardless of imagistic bent - can make virtually anything look good. Which means, of course, that she or he can make virtually anything look bad - or look just about any way at all. After all, that is the real work of photography: making things look, deciding how a thing is to appear in the image.

A paradox: the same century invented history and photography. But history is a memory fabricated according to positive formulas, a pure intellectual discourse which abolishes mythic time; and the photograph is a certain but fugitive testimony.