Best 2475 quotes in «photography quotes» category

I always prefer photographing in available light – or Rembrandt-light I like to call it – so you get the natural modulations of the face. It makes a more alive, real, and flattering portrait.

I always said it kept me alive - photography - because it did. It was my catharsis.

I always say that photography's closest cousin is poetry because of the way it sparks your imagination and leaves gaps for the viewer to fill in.

I always thought that one of the reasons why a painter likes especially to have other painters look at his or her work is the shared experience of having pushed paint around.

I always wanted to be a photographer. I was fascinated with the materials, but I never dreamed I would be having this much fun. I imagined something much less elusive, much more mundane.

'I am a camera' but it is a discontinued model.

I am a former economist. I never went to photography school to learn photography.

I am a passionate lover of the snapshot, because of all photographic images it comes closest to truth.

I am at war with the obvious.

I am forever chasing light. Light turns the ordinary into the magical.

I am going for a level of perfection that is only mine... Most of the pleasure is in getting the last little piece perfect.

I am inspired by great food, theater, books, the beach, black-and-white photography, and great vocalists, like Dianne Reeves, Alice Smith, and Shirley Horn. I am inspired by my mentor Diana Castle, who is guiding me towards a truth and honesty in my life and work that I have always longed for.

I am interested in computers and technology, and art, photography, and design.

I am interested in marginality, in immaturity, in naïveté, in illusion, in fictions, in transitions, in the fact that at a certain moment in life there is no limit. I would like my photography to pose a question rather than make a precise statement.

I am neither an economist nor a photographer of monuments, and I am not much of a journalist either. What I am trying to do more than anything else is to observe life.

I am not a painter, nor an artist. Therefore I can see straight, and that may be my undoing.

I am not interested in repetition. I don't want to reach the point from where I wouldn't know how to go further. It's good to set limits for oneself, but there comes a moment when we must destroy what we have constructed.

I am not very interested in extraordinary angles. They can be effective on certain occasions, but I do not feel the necessity for them in my own work. Indeed, I feel the simplest approach can often be most effective. A subject placed squarely in the center of the frame, if attention is not distracted from it by fussy surroundings, has a simple dignity which makes it all the more impressive.

I am pessimistic about a picture's power to be the emissary of just one thing. What I hope is that the picture says, "Here I am, this is what I am like," and the person seeing the picture says in return, 'You know a lot but you don't know half of what I know.'

I am so delighted when I get to see a really good movie. In that experience the artifice of movie making, the photography or the cutting style, falls away because you are inside the movie.

I am suspicious and disillusioned about the uses and misuses of photography in the art world, the press, and the world of entertainment. And to make things more complicated, I don't think that the general public is well educated regarding images. Generally we are taught how to read, but we are not taught how to look.

I am trying to make some kind of connection to what is going on in the world, to make some sort of contact. And I use the instruments that our modern world offers, these extraordinary instruments of photography and film and computers.

I am very much aware of the visual side of things. I do a lot of photography. I often take Polaroids of things that strike me as visually interesting, just to remember them and perhaps use later.

I approached photography the only way that I knew how to approach anything: as a job. I would get up, photograph all morning, stop and have lunch, and then, photograph all afternoon. I didn't think that I had to wait for some inspiration.

I became interested in photography when I was sharing a studio with Walker Evans, and found my own sketching was inadequate.

I appreciate photographs which celebrate harmony. I don't particularly want to look at chaos. I see enough of that at home.

I assumed from the outset that photography was already art, and that I and other people working in photography were artists. I understand now that this was a minority point of view.

I became kind of a drop-out in science after I came back to America. I wanted to photograph.

I became enamored with photography when I was about 13 or 14 years old. I've been at it ever since. I studied seriously in the '70s.

I became involved in photography when I was about thirteen years old.

I began drawing as a very young child and had a grandfather who experimented with photography, so those things constituted my first exposure to art.

I began after college, about 1972. I began to teach myself photography. I went to work for a local newspaper for four years as a kind of basic training.

I began to realize that the camera sees the world differently than the human eye and that sometimes those differences can make a photograph more powerful than what you actually observed.

I believed it was necessary to investigate photography, dismantle it, jettison all the non-essential components, and begin again with a stripped down but more powerful idea of what is, or could be photographic.

I believe in the relation between photography and music; And thats my inspiration.

I believe that the essence of photography is black and white. Color is but a deviance.

I believe photography is about choosing to live, being brave. Looking is an act of courage. It's terrifying. It's possible to see too much, to witness things that we cannot hold.

I believe that photography can create great works of art, but hitherto it has been extraordinarily bourgeois and babbling. (1908)

I believe that the medium of photography prevails entirely as an act of faith in the souls of those who love and practice it. And so every photograph becomes another subtle variation on the theme of the medium itself.

I believe that this whole question of some photography being true and some untrue is a non-question. Photography is not objective; it never was objective.

I believe that, through the act of living, the discovery of oneself is made concurrently with the discovery of the world around us.

I believe photography is a tool to express our positive assessment of the world. A tool to acquire ultimate happiness and belief.

I believe that the (distorting) mirror which is photography holds an intrinsic, even elemental, relation to writing.

I believe that photography loves banal objects, and I love the life of objects.

I believe that photography can only reproduce the surface of things. The same applies to a portrait. I take photographs of people the same way I would take photographs of a plaster bust.

I believe that the source of your inspiration is very important. I sometimes see this problem with photographers, even very good ones, who have drawn too much inspiration from photography and who, over time, have a problem forming their own identity.

I believe there is no more creative medium than photography to recreate the living world of our time. Photography gladly accepts the challenge because it is at home in its element: namely, realism - real life - the now.

I build a painting by putting little marks together-some look like hot dogs, some like doughnuts.

I came to photography with the desire to conquer this machine, the camera, and make it my slave. Instead, I have now a respect for it and all machines as expanders of my awareness.

I can be an artist a posteriori, not a priori. If my pictures tell the story, our story, human story, then in a hundred years, then they can be considered an art reference, but now they are not made as art. I'm a journalist. My life's on the road, my studio is the planet.