Best 2475 quotes in «photography quotes» category

The main difference seems to be that, whereas photography still claims some sort of objectivity, digital imaging is an overtly fictional process. As a practice that is known to be capable of nothing but fabrication, digitization abandons even the rhetoric of truth that has been such an important part of photography's cultural success.

The majority of America's colossal fortunes have been made by entering industries in their early stages and developing leadership in them.... Think of what opportunities the present and the future contain in such fields as ship-building and ship-owning, aircraft, electrical development, the oil industry, different branches of the automotive industry, foreign trade, international banking, invention, the chemical industry, moving pictures, color photography, and, one night add, labor leadership.

The meaning of quality in photography's best pictures lies written in the language of vision. That language is learned by chance, not system.

The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion.

The moment you make a photograph you consign whatever you photograph to the past as that specific moment no longer exists, it is history. The photography that I practice takes place in a specific time and place, depicting real moments in people's lives. In some ways I think of myself as a historian, but not of the word. History is most often written from a distance, and rarely from the viewpoint of those who endured it.

The more light you have in an image, the less drama you get. The details start taking over; the mystery is all gone.

The more you photograph, the more you realize what can and what can't be photographed. You just have to keep doing it.

The most difficult thing for me is a portrait. You have to try and put your camera between the skin of a person and his shirt.

The most important thing... is not clicking the shutter... it is clicking with the subject.

The most important thing is to try and enjoy life because you never know when it will be gone. If you wake up in the morning and have a choice between doing the laundry and taking a walk in the park, go for the walk. You'd hate to die and realize you had spent your last day doing the laundry.

The most prevalent way of working in photography right now is project oriented: you go after an idea. I like the old way, the intuitive approach. You follow your nose and take pictures and see what emerges. It happens after the fact.

The most striking feature of the new is the sheer mass. Photography was previously a mass phenomenon, but now, quantity is doubtless the outstanding quality. For a long time photos have been taken frequently and everywhere, but now photos are taken permanently and everywhere,... What is new is that we can watch them practically in real time.

The movie stars and matinee idols are put into the public domain by photography. They become dreams that money can buy. They can be bought and thumbed more easily than public prostitutes.

The movie that you'll be in is a new challenge. Photography is just the shot - one day, two days - and the next day you're gone.

The mystery isn't in the technique, it's in each of us.

The negative is the score, and the print the performance.

The New York book was a visual diary and it was also kind of personal newspaper. I wanted it to look like the news. I didn’t relate to European photography. It was too poetic and anecdotal for me… the kinetic quality of new york, the kids, dirt, madness—I tried to find a photographic style that would come close to it. So I would be grainy and contrasted and black. Id crop, blur, play with the negatives. I didn’t see clean technique being right for New York. I could imagine my pictures lying in the gutter like the New York Daily News.

Then in college, besides economics, I also majored in studio art and got involved in photography and making short films and acting. But I didn't know you could make a living that way.

The oceans are in trouble. There are some serious problems out there that I believe are not clear to many people. My hope is to continually find new ways of creating images and stories that both celebrate the sea yet also highlight environmental problems. Photography can be a powerful instrument for change.

The one thing that is always clear in my mind is that the people, and their stories, and the themes of life that I photograph are always more important to me than the process of photography itself.

The people I work with, the people I photograph, become a kind of family for me.

The one thing that seems to be consistent through all my work that I like, and I experimented a lot, is the viewer is allowed to meditate on something that normally we don't stop and stare at, whether it's people or a cactus.

The only way to understand something is to be confronted by something that is difficult to understand.

The other great development has been in photography, but that too was influenced by Conceptual art.

The painter... will find [photography] a rapid way of making collections of studies he could otherwise obtain only with much time and trouble and, whatever his talents might be, in a far less perfect manner.

The persistent problem in photography is how to look at it.

The personality and style of a photographer usually limits the type of subject with which he deals best. For example Cartier-Bresson is very interested in people and in travel; these things plus his precise feeling for geometrical relationships determine the type of pictures he takes best. What is of value is that a particular photographer sees the subject differently. A good picture must be a completely individual expression which intrigues the viewer and forces him to think.

The photograph itself doesn't interest me. I want only to capture a minute part of reality.

The photogram, or camera-less record of forms produced by light, which embodies the unique nature of the photographic process, is the real key to photography.

The photograph is not only a pictorial report; it is also a psychological report. It represents the feelings and point of view of the intelligence behind the camera.

The photograph isolates and perpetuates a moment of time: an important and revealing moment, or an unimportant and meaningless one, depending upon the photographer's understanding of his subject and mastery of his process.

The photographs don't arouse me. All I can think about is the hard work it took to make them.

The photography is not the aim of the work; the articulation of the work through photography is another way of understanding what's going on and what's happening outside.

The pictures are everywhere. If you're open, they will find you.

The point of my photography has always been to challenge myself, to go a little further than my Germanic discipline and Teutonic nature would traditionally permit me to.

The portrait is the subject matter in photography where the problems of the media are the most visible.

... the possibility of one particular photographer's pictures lying around the corner is never realized until the photographer is there. It's one of the enigmas of photography.

The only thing that's difficult is reloading when things are happening. Can you get it done fast enough?

The only thing which completely was an amazement to me and brought me to photography was the work of Munkacsi. When I saw the photograph of Munkacsi of the black kids running in a wave, I couldn't believe such a thing could be caught with the camera. I said, 'Damn it', I took my camera and went out into the street.

The original interest in making pictures that don't directly depict came around '97 or '98, when I felt there was such an acceleration of images in the world, and that was before Flickr and so on. So I felt a need to slow down how one consumes photographs. With the abstract pictures, I was engaged in trying to find new images, but in practice, it was a bit like throwing a wrench in the spokes. The omnipresence of photography is at a level that it has never been in the history of the world. I feel really curious to now reengage and see what the camera can do for me.

The painters have no copyright on modern art!... I believe in, and make no apologies for, photography: it is the most important graphic medium of our day. It does not have to be, indeed cannot be - compared to painting - it has different means and aims.

The photogram, image formation outside the camera is the real key to photography,it embodies the essence... that allows us to capture light on light sensitive material without the use of any camera.

The photograph doesn't claim to be a participant, or to know, or to be a club member of whatever it's documenting - photography is more demanding when it doesn't pretend to know.

The photographer is a manipulator of light; photography is a manipulation of light.

The photographer must bear the responsibility for his work and its effect …[for] photographic journalism, because of its tremendous audience reached by publications using it, has more influence on public thinking than any other branch of photography.

The photograph reverses the purpose of travel, which until now had been to encounter the strange and unfamiliar.

The photograph should be more interesting or more beautiful than what was photographed

The photographs are not illustrative. They, and the text, are coequal, mutually independent, and fully collaborative. By their fewness, and by the importance of the reader’s eye, this will be misunderstood by most of that minority which does not wholly ignore it. In the interests, however, of the history and future of photography, that risk seems irrelevant, and this flat statement necessary.

The Photography is a chopper which in the eternity seizes the moment which dazzled it.

The picture is like a prayer, an offering, and hopefully an opening through which to seek what we don't know, or already know and should take seriously.