Best 2475 quotes in «photography quotes» category

Taking photographs is generally an act of 'looking at the object, whereas 'being seen' or 'showing' is what is most interest to one who does a self-portrait...self-portraits deny not only photography itself but the 20th century as an era as well...an inevitable phenomenon at the end of the 20th century.

Technically, I have not changed very much. Ask my assistants. They'll tell you, I am the easiest photographer to work with. I don't have heavy equipment. I work out of one bag.

That celebrated marriage of science and art, photography, seemed at the time to join together how we look at the world, art, with how we were coming to know it, science.

That portion of reality that can be composed within a frame can be understood.

That's one of the troubles of photography; the implication that what you have in that photograph is the way it is, and of course a year later that's not the way it is. Life moves on and the picture stays. That can be a wonderful idea to be a part of history and on the other hand, you think pictures have a life that they don't have.

That's one of the wonderful things about the whole process of photography - eye contact can be very revealing.

That's the way I learned photography: You make your picture in the camera. Now, so much is made in the computer. ... I'm not anti-digital, I just think, for me, film works better.

That's true, because I'm a photographer now.

That the outer man is a picture of the inner, and the face an expression and revelation of the whole character, is a presumption likely enough in itself, and therefore a safe one to go on; borne out as it is by the fact that people are always anxious to see anyone who has made himself famous. Photography offers the most complete satisfaction of our curiosity.

The '60s in London obviously brought about the explosion of music, the Beatles especially, and then the Rolling Stones and other forms of music, and then fashion and photography and films - kitchen-sink dramas we called them at that time, which was our nouvelle vague in Britain, films that talk about real life.

The ability to make a truly artistic photograph is not acquired off-hand, but is the result of an artistic instinct coupled with years of labor.

The act of photography is that of phenomenological doubt to the extent that it attempts to approach phenomena from any number of viewpoints.

The act of photography is like going on a hunt in which photographer and camera merge into one indivisible function. This is a hunt for new states of things, situations never seen before, for the improbable, for information.

The advent of the digital age and the immediacy and convenience of digital video and photography allows people to become an integral part of the feedback loop which actively shapes the content we are fed.

The aesthetic discussion of photography is dominated by the concept of time. Photographs appear as devices stopping time and preserving fragments of the past, like flies in amber.

The ambition of instantaneous photography... was that of preserving the spontaneity of action and avoiding any indication that the presence of the picture taker had a modifying influence on what was going on.

The artistry on the show [ Underground] is apparent in each episode. From the riveting writing to the purposeful and precise direction, the masterful work of the DP [Director of Photography] Kevin McKnight and his crew, and the layers and depths each actor goes to to ensure we the audience feel a human connection to these characters led me to sign my name on the dotted line.

[The] arresting of time is photography's unique capacity, and the decision of when to click the shutter is the photographer's chief responsibility.

The art is the challenge which you must meet every day: the technique you should learn to control with time. The science and the art of photography are really one, and not opposed to each other.

The awareness of the quality of space in out photos is akin to our awareness of the very air in our photos, the atmosphere that pervades every square inch of our image and yet is often invisible to the photographer.

The art in photography is literary art before it is anything else: its triumphs and monuments are historical, anecdotal, reportorial, observational before they are purely pictorial... The photograph has to tell a story if it is to work as art.

The authentic thing is to follow your heart, your instincts, your emotions. If you located yourself in an idea, your life would be lived very sadly.

The beauty of women was the first expression of my photography.

... the battle for the acceptance of photography as Art was not only counter-productive but counter-revolutionary. The most important photography is most emphatically not Art.

The best images are the ones that retain their strength and impact over the years, regardless of the number of times they are viewed.

The best way for photographers to become rich and famous is to go into another field.

The camera does not know what it takes; it captures materials with which you reconstruct, not so much what you saw as what you thought you saw. Hence the best photography is aware, mindful, of illusion and uses illusion, permitting and encouraging it - especially unconscious and powerful illusions that are not usually admitted on the scene.

The best zoom lens is your legs.

The biggest cliche in Photography is Sunrise and Sunset.

The camera can push the new medium to its limits - and beyond. It is there - in the "beyond" - that the imaginative photographer will compete with the imaginative painter. Painting must return to the natural world from time to time for renewal of the artistic vision. The key sector of renewal of vision today is the new vistas revealed by science. Here photography, which is not only art but science also, stands on the firmest ground.

The camera has its own kind of consciousness; in the lens the Garden of Eden itself would become ever so slightly too perfect.

The camera, you know, will never capture you. Photography, in my experience, has the miraculous power of transferring wine into water.

The camera can photograph thought. It's better than a paragraph of sweet polemic.

The camera is my tool. Through it I give a reason to everything around me.

The camera relieves us of the burden of memory.

The challenge of photography is to show the thing photographed so that our feelings are awakened and hidden aspects are revealed to us

The central act of photography, the act of choosing and eliminating, forces a concentration on the picture edge - the line that separates in from out - and on the shapes that are created by it.

The changes taking place in this part of Europe are enormous and very rapid. One world is disappearing. I am trying to photograph what's left. I have always been drawn to what is ending, what will soon no longer exist.

The camera adds a certain sheen to things. Something about being frozen in time really makes things sparkle.

The camera creates a magical transformation. It's not enough to exist; we must chronicle that existence. ... Narrative- and image-making creatures like humans don't feel any experience is complete unless it's recorded.

The camera is for us a tool, not a pretty mechanical toy ... people think far too much about techniques and not enough about seeing.

The camera will never compete with the brush and the palette, until such time as photographs can be taken in Heaven or Hell.

The challenge for me has first been to see things as they are, whether a portrait, a city street, or a bouncing ball. In a word, I have tried to be objective. What I mean by objectivity is not the objectivity of a machine, but of a sensible human being with the mystery of personal selection at the heart of it. The second challenge has been to impose order onto the things seen and to supply the visual context and the intellectual framework - that to me is the art of photography.

The clue to book jacket photography is to look friendly and approachable, but not too glamorous.

The coherent way of investigating any field is to examine its possible relatedness to other things.

The commonest forms of amateur natural history in the United States are probably gardening, bird watching, the maintenance of aquarium fish, and nature photography.

The camera should be used for a recording of life, for rendering the very substance and quintessence of the thing itself, whether it be polished steel or palpitating flesh.

The business of making a photograph may be said in simple terms to consist of three elements: the objective world (whose permanent condition is change and disorder), the sheet of paper on which the picture will be realized, and the experience which brings them together.

The contest between form and content is what, is what art is about - it's art history. That's what basically everybody has ever contended with. The problem is uniquely complex in still photography.

The contemporary artist...is not bound to a fully conceived, previsioned end. His mind is kept alert to in-process discovery and a working rapport is established between the artist and his creation. While it may be true, as Nathan Lyons stated, 'The eye and the camera see more than the mind knows,' is it not also conceivable that the mind knows more than the eye and the camera can see?