Best 2475 quotes in «photography quotes» category

None of the editors I've worked with have ever asked me to pull my punches. They've never asked me to give them anything other than my own interpretation of events.

No one can really explain in a rational way what makes a good photograph or a bad photograph... This is why the art world will not throw billions of dollars at photography the way it has at painting; and that is what makes it an exciting medium.

No one can do inspired work without genuine interest in his subject and understanding of its characteristics.

No one moment is most important. Any moment can be something.

No place is boring, if you've had a good night's sleep and have a pocket full of unexposed film.

No photographer should be blamed when, instead of capturing reality, he tries to show things he has seen only in his imagination. Photography is the youngest art form. All attempts to enlarge its frontiers are important and should be encouraged.

Notebook. No photographer should be without one!

Nothing is more hateful to me than photography coated with gimmicks, poses and false effects. Therefore let me speak the truth in all honesty about our age and the people of our age

Nothing is ever the same as they said it was.

Nothing is ever the same twice because everything is always gone forever, and yet each moment has infinite photographic possibilities.

Nothing is more abhorrent to me than sugary-sweet photography full of pretense, poses, and gimmickry. For this reason, I have allowed myself to tell the truth about our times and people in a sincere manner.

Nothing is more intriguing than a still photograph in the middle of a motion picture... Just as an accident is a cry changed into silence and not a silence after a cry, photography is speed rendered motionless.

Nothing proves the truth of surrealism so much as photography. The Zeiss lens has unexpected faculties of surprise!

Nothing seemed to me more appropriate than to project an image of our time with absolute fidelity to nature by means of photography.

Not only has photography so thoroughly saturated our visual environment as to make the invention of visual images seem archaic, but it is also clear that photography is too multiple, too useful to other discourses, ever to be wholly contained within traditional definitions of art.

Not only did she [Marilyn Monroe] master her own image, create it and ultimately control it, she was the subject of many of the great masters of photography of the 20th century.

Not only do we end up with a vivid, surprising and soulful sense of one artist and his work, but Leigh also offers us a commanding view of a city, London, and country at the dawn of the modern age and of a man being overawed and overtaken by new technologies such as photography and the railways. As ever with Leigh, 'Mr Turner' addresses the big questions with small moments. It's an extraordinary film, all at once strange, entertaining, thoughtful and exciting.

Nowadays shots are created in post-production, on computers. It's not really photography.

Now, at a moment when photography is so pervasive that it's been forced to grapple with its own identity and look inward, it feels like a natural moment for painting to look out, to reclaim that directive of picturing America.

Now Ben Folds is my photography older brother. He was kind enough to give me a photo of his for my 40th birthday.

Now that photography is a digital medium, the ghost of painting is coming to haunt it: photography no longer retains a sense of truth. I think that's great, because it frees photography from factuality, the same way photography freed painting from factuality in the mid-nineteenth century.

Objectivity is of the very essence of photography, its contribution and at the same time its limitation

Now very often events are set up for photographers... The weddings are orchestrated about the photographers taking the picture, because if it hasn't been photographed it doesn't really exist.

Now, when I came on to Washington to begin my job, I was so interested in photography at that time that I really would have preferred to work with Stryker than with my department, which was more artistic if you wish.

Of course I will continue photography. I love photography. But when you become old, it's too much.

Of all the means of expression, photography is the only one that fixes a precise moment in time.

Of course, I won't be abandoning photography, because it is my life.

Of course [photography] cannot create, nor express all we want to express. But it can be a witness of our passage on earth, like a notebook.

Of course, this is one of the really important things about art, that you can make more than you can understand at the moment the thing is being made. But the gap between what we recognize inside ourselves - our feelings- and our ability to trust ourselves and to trust exposing ourselves to those ideas, can be great.

Obviously, we can see what was in front of the camera, but if a photograph is honestly made, it's a bit of a self-portrait. I think it's impossible for a photographer who is working honestly to keep this from happening.

Often when I walked alone in the mountains, I tried to make sense out of the two halves of my life. What went on in the city during the week seemed chaotic and unrelated to the events in my mountain world.

Once a photographer is convinced that the camera can lie and that, strictly speaking, the vast majority of photographs are camera lies, inasmuch as they tell only part of a story or tell it in distorted form, half the battle is won. Once he has conceded that photography is not a naturalistic medium of rendition and that striving for naturalism in a photograph is futile, he can turn his attention to using a camera to make more effective pictures.

Often while traveling with a camera we arrive just as the sun slips over the horizon of a moment, too late to expose film, only time enough to expose our hearts.

Oh my goodness gracious, what you can buy off the Internet in terms of overhead photography. A trained ape can know an awful lot of what is going on in this world, just by punching on his mouse, for a relatively modest cost.

On digital photography: It's fantastic, but it's not a freebie for anything. You still have to have this (he points to his eyes), and this (points to his heart), and feet.

...one day I was speculating on how I would like to look back on life and I decided I wanted to feel that I was a photographer rather than a teacher. As simple as that.

One impulse of photography, as immediate as its impulse to extend the visible, is to theatricalize its subjects. The photographer's command, Watch the birdie! is essentially a stage direction.

One knows that frontal and/or profile photography is torn to pieces... Inversely, what remains of the photograph must be seen as a fragment coming to fill a gap in the drawing.

... one of art photography's most vigorous enterprises--[is] concentrating on victims, on the unfortunate--but without the compassionate purpose that such a project is expected to serve.

One of my passions is photography. I always carry a camera in my bag whenever I travel. I always take pictures wherever I go, and some of them end up being really crazy ones.

One of my challenges was to try to photograph the Great Wall of China. And I did actually take some photos, but it was hard to discern the wall with the naked eye.

One of my oldest friends from Kansas, his sister was married to Ben [Folds] and wrote lyrics on his first couple of albums. I got to meet him the first time I saw them in concert at The Bottleneck, a great bar in Lawrence, Kansas. Then, he was the musical guest my first or second week as a writer on SNL. I was like, "I don't know if you remember me?" And he was like, "Oh my god, yeah!" He's a big photography fan, as am I.

One of the elements of photography is, just by nature, journalistic. It's some kind of documentation. The most successful pictures to me are with an interesting looking girl. They're not being provocative. They're just presenting their drugs to you, showing you what they take. There's a good-looking girl, but here's this thing about her that's not so cool. It makes you feel a little uneasy.

One of the biggest mistakes a photographer can make is to look at the real world and cling to the vain hope that next time his film will somehow bear a closer resemblance to it...If we limit our vision to the real world, we will forever be fighting on the minus side of things, working only too make our photographs equal to what we see out there, but no better.

One of the difficulties of photography is that it is much better at being explicit than at being reticent.

One of the most amazing things that came out of 9/11 was all the pictures taken by amateurs, by people just going to work or coming or saw what was going on and took it. But all forms and various types of cameras, and when you look at that body of work you just see the impact of how photography is - when I taught once, I said that you have to be ready now for any event.

One of the magical things about photography is the transformation that takes place when you photograph something. Something that inherently has very little going for it in terms of the interest you take in it, can become infinitely more interesting when rendered as a photograph. It's no longer a building. It's a photograph.

One of the most recent things we did [in Perceval Press] is a reissue of a fantastic documentary about Russian prison tattoo culture by Alix Lambert called The Mark of Cain. We've done books from Twilight of Empire, that actually has forewords by Howard Zinn and Dennis Kucinich and others, to books of poetry, photography, painting - all kinds of books.

One reason I was interested in photography was to get away from the preciousness of the art object.

One of the things that was really influential early on was Ezra Pound's Cantos, one poem he worked on for 50 years. It's epic. I had a great deal of difficulty understanding it. One of the problems was you'd be reading along in English and he would move to a Chinese ideogram or French-he actually used seven different languages in a given poem. And for somebody who's not fluent in different languages it has the impact of rupturing your way of understanding something.