Best 2475 quotes in «photography quotes» category

I don't like explosions. I don't mind progress. But digital photography has made every man, woman, child and chimpanzee a photographer of sorts and consequently has numbed down the general quality of photographs.

I don't like captions. I prefer people to look at my pictures and invent their own stories.

I don't like the discussions about whether photography is an art. Even though I think that if it would be just a craft I would not have stayed with it all my life.

I don't mistrust reality, of which I know next to nothing. I mistrust the picture of reality conveyed to us by our senses, which is imperfect and circumscribed.

I don't really use still photography very much anymore except to document my work.

I don't see light as something that falls, but as a positive force.

I don't see a big difference between painting and photography. Moreover, such distinctions mean nothing to me.

I don't speak emotionally about my pictures. That's for other people to do. I will say that I love my photographs. That's what keeps me going.

I don't think I treat my film work as an extension of my photography. There are two different sets of rules there.

I don't think it's necessary to put your feelings about photography in words. I've read things that photographers have written for exhibitions and so forth about their subjective feelings about photography and mostly I think it's disturbing. I think they're fooling themselves very often. They're just talking, they're not saying anything.

I don't think photography has anything remotely to do with the brain. It has to do with eye appeal.

I don't think science is necessarily incompatible with mystical or spiritual sensibilities. I often weigh them equally in my thinking, which sometimes finds itself into the work.

I don't think of myself as a photographer. I've engaged questions regarding photography's role in culture... but it is an engagement with a problem rather than a medium.

I don't think that digital photography is romantic yet. It's not sympathetic the way that film is.

I don't think there's any such thing as teaching people photography, other than influencing them a little. People have to be their own learners. They have to have a certain talent.

I don’t think there’s any such thing as male objectification

I dont think tragic situations are necessarily devoid of beauty.

I don't think you can create luck. You're either lucky or you're not. I don't know if it's really luck or if it's just curiosity. I think the main ingredient, or a main ingredient for photography is curiosity. If you're curious enough and if you get up in the morning and go out and take pictures, you're likely to be more lucky than if you just stay at home.

I don’t use an exposure meter. My personal advice is: Spend the money you would put into such an instrument for film. Buy yards of film, miles of it. Buy all the film you can get your hands on. And then experiment with it.That is the only way to be successful in photography. Test, try, experiment, feel your way along. It is the experience, not technique, which counts in camera work first of all. If you get the feel of photography, you can take fifteen pictures while one of your opponents is trying out his exposure meter.

I don't want anyone to appreciate the light or the palette of tones. I want my pictures to inform, to provoke discussion - and to raise money.

I don't write as many songs as I used to. But, I find myself writing for social media more - times have changed. And I love photography, so a lot of my creative energy gets caught up that way.

I do read many of the photography magazines from the UK and abroad.

I do photography and I studied film at school. So I've always really enjoyed that and I've got an eye for camera angles I guess. I've never taken that into filming wildlife.

I embrace the abstract in photography and exist on a few bits of order extracted from the chaos of reality.

I earnestly advise women of artistic tastes to train for the unworked field of modern photography. It seems to be especially adapted to them, and the few who have entered it are meeting with gratifying and profitable success. (1898)

I drifted into photography like one drifts into prostitution. First I did it to please myself, then I did it to please my friends, and eventually I did it for the money.

I'd very much like to create my own style as a photographer, even if it's just for myself.

I enjoy singing, I enjoy music as much as I enjoy photography, doing filming and stuff like that. I do a lot of things to express who I am.

I expect photographs to find me. I never thought of looking for them. I instinctively put them there. My intellect had nothing to do with it.

If acting doesn't work out, I plan to do food photography and just eat my way through the entire world. I'm a big foodie, and if I could make some career out of it, that would be fantastic.

If anyone gets in my way when I'm making a picture, I become irrational. I'm never sure what I am going to do, or sometimes even aware of what I do-only that I want that picture.

If all your life means to you is water running over rocks, then photograph it, but I want to create something that would not have existed without me.

If art is the poetic interpretation of nature, photography is the exact translation; it is exactitude in art or the complement of art. (1854)

I felt like I was in the best photography school in the world - I had Herb Ritts, Bruce Weber, Richard Avedon and Irving Penn teach me.

I feel shabby - because I've made a name, quite a good name, out of photography. And I still find myself asking the same questions: Who am I? What am I supposed to be? What have I done?

I feel that whatever picture an artist makes it is in part a picture of himself - a matter of identity.

I feed on art more than I ever do on photographs. I can admire photography, but I wouldn't go to it out of hunger.

I feel very lucky. I don't know what else there has to be. I'm happy, as corny as it sounds, to be living in a place where it's easy to live, easy to drive to the airport, easy to go pick up something at the supermarket and to have a circle of friends. Those were my goals in 1998, not to be queen of photography but to make a cultural adjustment to the West. And those are still more important goals to me than professional ones right now.

If I am lucky, something new and inexplicable often appears in front of my lens. I am always surprised by the mystery of how my best images appear. That excitement and shock of discovery makes my life at these moments a gift.

If I didn't have a conviction that a serious painter can portray Nature more profoundly than the best colour photography, I'd probably give it all up or go abstract or take up photography.

If I am dissatisfied, it's simply because good photos are few and far between. A good photo is a miracle.

If I am at a party, I want to be at the party. Too many photographers use the camera to avoid participating in things. They become professional observers.

If I could do what I want with my eyes alone, I would be happy.

If I could find them (assemblages) in nature I would photograph them. I make them because through photography I have a knowledge of things that can't be found.

If I had been born one or two hundred years ago, I might have been a sculptor, but photography is a very quick way to see, to make sculpture.

If I have caught myself struggling to remember, it was, if not a pretense, at least premature, in that I only ever used photography for my own pleasure - even if I then bewailed the vanished pleasure which my pictures brought back to me.

If I indulge myself and surrender to memory, I can still feel the knot of excitement that gripped me as I turned the corner into Rue Mimosas, looking for the house of Rene Magritte. It was August, 1965. I was 33 years old and about to meet the man whose profound and witty surrealist paintings had contradicted my assumptions about photography.

I find fashion magazines so incredibly boring . . . There still is no new photography and no new concerns.

I find that when one has worked long enough, technical know-how becomes almost irrelevant. In photography, it's not difficult to reach a technical level where you don't need to think about the technique any more. I think there is far too much literature and far too much emphasis upon the techniques of photography. The make of camera and type of film we happen to use has little bearing on the results.

I find the surface of a photograph a thing of beauty in and of itself, and it is this surface that makes a photograph unique relative to other two-dimensional media.