Best 2475 quotes in «photography quotes» category

Is photography art?... The pure definition of the word 'art' alone is too vague today to break one's brain and soul about it. Let us take a little vacation from this word.

Is photography an art? There is no point in trying to find out if it is an art. Art is old-fashioned. We need something else.

I start a lot of photo projects but never seem to. . . .

I started out doing music videos and photography, and I always loved writing. Filmmaking seemed to be a good compilation of all these skills in a way that allowed me to tell a story “greater than the sum of its parts.”

I started photography more or less by accident when I was already 27. I was taken on as an assistant by a photographer who was a friend of a friend and I very quickly understood the potential of expression in photography.

I started thinking of digital imaging, not photography, in 1994 as it seemed the most appropriate way to deal with ideas of biotechnology and advertising. My practice is conceptual.

I start with no preconceived idea - discovery excites me to focus - then rediscovery through the lens - final form of presentation seen on ground glass, the finished print previsioned completely in every detail of texture, movement, proportion, before exposure - the shutter's release automatically and finally fixes my conception, allowing no after manipulation - the ultimate end, the print, is but a duplication of all that I saw and felt through my camera.

I still think photographers should be lashed out at. They should be put in a cage where you can poke them with a stick for a quarter. But not in a hostile way, just for giggles. They really are on the attack against mankind; it's a disease. They should be helped somewhere. But I'd still like to poke them with a stick.

iStockphoto was revolutionizing the stock photography industry, establishing a whole new business model and democratizing stock art for everyone. It made sense for the industry-leading stock image company to take iStock to the next stage of growth, serving all markets at every price point.

I struggle against photography. I struggle against the fact that it is silent, that it is just a piece of paper on the wall, often presented in a tedious white matt frame.

I suddenly understood that photography can fix eternity in a moment. It is the only photo that influenced me. There is such intensity in this image, such spontaneity, such joie de vivre, such miraculousness, that even today it still bowls me over.

I suffered first as a child from discrimination, poverty ... So I think it was a natural follow from that that I should use my camera to speak for people who are unable to speak for themselves.

I suspect it is for one's self-interest that one looks at one's surroundings and one's self. This search is personally born and is indeed my reason and motive for making photographs.

I take more to the subject than to my ideas about it. I am not interested in any idea I have had, the subject is so demanding and so important.

I take photographs with love, so I try to make them art objects. But I make them for myself first and foremost - that is important.

I take pleasure in working with the non-art photographs that reside in public archives, essentially authorless and owned by the world itself, because I find the world of fine art photography to be pretty silly and pretentious.

It began when I was so ill that there was a good chance of dying. I promised myself that if I survived I would never again pander to a magazine's requests or follow the ideas of art directors. I would only make images which were personal, which arose out of my own life.

It always amazes me that just when I think there's nothing left to do in photography and that all permutations and possibilities have been exhausted, someone comes along and puts the medium to new use, and makes it his or her own, yanks it out of this kind of amateur status, and makes it as profound and as moving and as formally interesting as any other medium.

It cannot be too plainly stated that it is quite unimportant whether photography produces 'art' or not. Its own basic laws, not the opinions of art critics, will provide the only valid measure of its future worth.

It doesn't matter if you're photographing a porter in a market in Marrakech or you're photographing the king of Morroco. You have the same sympathetic approach to everybody. You be nice to everybody, basically.

It doesn't upset artists to find out that artists used lenses or mirrors or other aids, but it certainly does upset the art historians.

I tell a little bit of my life to them, and they tell a little of theirs to me. The picture itself is just the tip of the iceberg.

I tell you (dogmatically, if you like to call it so, knowing it well) a square inch of man's engraving is worth all the photographs that were ever dipped in acid... Believe me, photography can do against line engraving just what Madame Tussaud's wax-work can do against sculpture. That and no more. (1865)

I tend to think of the act of photographing, generally speaking, as an adventure. My favorite thing is to go where I’ve never been.

It fascinates me that there is a variety of feeling about what I do. I'm not a premeditative photographer. I see a picture and I make it. If I had a chance, I'd be out shooting all the time. You don't have to go looking for pictures. The material is generous. You go out and the pictures are staring at you.

I think a lot of times when people have "creative blocks" and I know my share of friends do as well if they're at just some stuck point. They're not sure what to do with their lives or their writing or their photography or their filmmaking or whatever it is that they're doing. I think the best advice is you have to change your life up completely; to go on a trip, to go spend a year being of service. Be willing to take some major drastic action to get you out of your comfort zone and go inside, not outside.

I think I'm no different to my friends who are doctors or businessmen or architects - we all started watching films of the golden age together. But whether I'm making films or writing poetry or doing photography, it's very much rooted in my sense of unease. And that's really where everything goes back to.

I think creating the clothes is about creating historical images - and that's about more than fashion. It is about the fashion, the photography, what you are doing in the moment. It's what we call in French rechercher, or the search for that thing. So even though fashion is not scientific, I think being a designer is somewhat like being a scientist.

I think I came alive when I started photography.

I think I’ve said this before many times—that photography allows you to learn to look and see. You begin to see things you had never paid any attention to. And as you photograph, one of the benefits is that the world becomes a much richer, juicier, visual place. Sometimes it is almost unbearable — it is too interesting. And it isn’t always just the photos you take that matters. It is looking at the world and seeing things that you never photograph that could be photographs if you had the energy to keep taking pictures every second of your life.

I think it's all absolute nonsense how people talk about photography as being an art. It's a very menial career that you do if you draw badly. Now they teach it at the Royal College of Art and get grand about it. It's the only course there that I don't understand.

I think I was driven to paint portraits to commit images of friends and family to memory. I have face blindness, and once a face is flattened out, I can remember it better.

I think life is too short not to be doing something which you really believe in. Whether you're photographing for yourself, for your job, whether you photograph on the weekends or everyday or once in a while, the main point is having fun and to be exercising your curiosity and to be really in love with what you are doing.

I think I'm really fortunate to be an installation artist who is heavily invested in photography: I don't have the emotional problems with the loss of work that some installation artists have. The photographs wouldn't exist without the installation... but at the same time, I think I'd kill myself if I only did installations. There's something deeply tragic about doing work that you know is temporal.

I think it's very dangerous for a free society to have all the information distilled and packaged by our government and given to us. Do we know to this day who we killed in Iraq? I don't think so. If bringing war into the living room means that we as a people will say we don't want to do it that way anymore we want to figure out other ways to solve these conflicts, then I would say that photography and television have done us a great service.

I think landscape photography in general is somewhat undervalued.

I think I was shy as a young woman and realized that photography was an ideal way of expressing myself, of telling people what was going on without having to talk.

I think my pictures are really about a kind of tension between my need to make a perfect picture and the impossibility of doing so. Something always fails, there's always a problem, and photography fails in a certain sense... This is what drives you to the next picture.

I think one of the aspects of photography that remains for me is I find the process still frustrating. The counter to that is that it's still very exciting. If you didn't have the frustration, you wouldn't have the excitement. If you didn't have the disappointment, you wouldn't have the magical intoxication of this process working.

I think of myself as being an ethical man, but I don't try to teach ethics. I have no message. I know little about contemporary life. I don't read a newspaper. I dislike politics and politicians. I belong to no party whatever. My private life is a private life. I try to avoid photography and publicity.

I think of my work as very polarizing; either people really do like it and are touched by it or they really don't get it at all. It's not accessible to all people at the same level.

I think one of the shortcomings of reality, of real experience, is most people's inability to examine something carefully and thoughtfully without moving around or being distracted by something else. What photography does really is it forces you to examine something you normally wouldn't.

I think photographers are too polite. There is not enough anger in photography; it's pretty much trivialized.

I think photography is so hard. To be working in video and photography the past 20 years - because I was doing it in high school - you're dealing with mediums that change culture. The way they are distributed, disseminated - it's changed so dramatically. One of the things I always like to do is look at the structure of something and detach myself from the structure and figure out how to slightly alter it. So if the structure itself is constantly liquidated, it just really is difficult for me to really even know what to think of Instagram.

I think photography has made us see the landscape in a very dull way - that's one of its effects. It's not spatial.

I think photography was inside me. Once I found it, it became stronger than me and I took refuge in it.

I think probably something big can be done with cameras, I'm not saying, er, I'm saying chemical photography's finished, that means you can't have a Cartier Bresson again, you need never believe pictures.

I think photography has a huge potential to expand a circle of knowledge. There's a reality that we are all the more linked globally and we have to know about each other. Photography gives us that opportunity.

I think people just see cinematography as being about photography and innovative shots and beautiful lighting. We all want our movies to look great visually, to be beguiling and enticing, but I think that what really defines a great cinematographer is one who loves story.

I think photography is a universal language as far as storytelling goes, and I think that's what it's most successful at.