Best 2475 quotes in «photography quotes» category

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

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

I think that any photographer is an investigator. Photography is a pretext to know the world, to know life. To know yourself.

I think that digital is offering many great possibilities for cinematographers. Particularly in urban cityscapes and low light photography its allowing us to render what we actually see with our eyes; which is interesting.

I think that cinema and television have nothing in common. There is a breaking point between photography and cinema on the one hand and television and virtual reality on the other hand.

I think photojournalism is documentary photography with a purpose.

I think that it's workshops, honestly, that have kept me keen about photography, and about my photography. My career as a workshop photographer came while I was at the Geographic in the late 70's, and has continued consistently since then.

I think that it was a great advantage to go into photography not knowing much about it. Not thinking. I think one of the problems with many photographers today is that they never see for themselves, but just like everybody else.

I think that photography has allowed me to have a voice. I used to stutter, and once I overcame that struggle, it felt good to tell people they were beautiful and special.

I think that's what the war photography did for me. It showed me the human side of people and how certain circumstances can change people's lives.

I think that's what really separates me in the world of fashion is I have a real understanding of actual clothes and how they work and how they should fit and a reasonably good artistic version of photography that kind of captures that. I think that was really kind of the best combination.

I think that the exactitude of the photograph has a sort of compelling nature based in its power to duplicate life. But to me the real power of photography is based in death: the fact that somehow it can enliven that which is not there in a kind of stultifying frightened way, because it seems to me that part of one's life is made up of a constant confrontation with one's own death.

I think that's necessary in photography. We try to simplify the chaos that's out there - and that's true of the natural world as well as the mad-made world. Clearly, it's easier in the mad-made world because it has already been structured.

I think there is a period of esthetic discovery that happens to a man and he can do all sorts of things at white heat.

I think the best pictures are often on the edges of any situation, I don't find photographing the situation nearly as interesting as photographing the edges.

I think the greatest photographers are the amateur photographers who do it because they love it. Arnold Newman is a good example; he is a consummate professional, but he's also an 'amateur' in the pure sense of the word.

I think the best way to put it is that newspictures are the noun and the verb; our kind of photography is the adjective and adverb. The newspicture is a single frame; ours, a subject viewed in series. The newspicture is dramatic, all subject and action. Ours shows what's back of the action.

I think the equipment you use has a real, visible influence on the character of your photography. You're going to work differently, and make different kinds of pictures, if you have to set up a view camera on a tripod than if you're Lee Friedlander with handheld 35 mm rangefinder. But fundamentally, vision is not about which camera or how many megapixels you have, it's about what you find important. It's all about ideas.

I think there's a general confusion that my work is about types of photography. But really that's just a tool to introduce some questions I have about seeing. What happens when all of these conditions and structures and histories and cultures and tools you have around you begin to fail? On the one hand there is an engagement with histories and cultures, and on the other, there is this very lonesome space of actually coming to terms with seeing.

I think this is the most exciting time in the history of photography. Technology is expanding what photographers can do, like the microscope and the telescope expanded what scientists could do.

I think we seem to remember things in still pictures. I never gave up on painting. When they said painting was dead, I just thought, Well, that's all about photography, and photography's not that interesting, and it's changing anyway.

I think when you practice photography or observation, you're on high alert. You polish up your antenna and stick up your head, and you're out there. You're receptive, appreciative of details. It heightens reality. You're trying to step into your alertness.