Best 2475 quotes in «photography quotes» category

If you look at most photography, especially the pictures that grab you, they are not objective at all. Sometimes gut wrenching and sometimes lovely, but the moment someone decides to release the shutter, it is an editorial statement.

If you love something, the work will be just fine.

If you're going to paint from photos, make sure you've painted for at least ten years.

If youre not interested in life, then photography has no meaning

If you're not shooting in the right direction, it doesn't matter how well you're shooting.

If you're not your own severest critic, you are your own worst enemy.

If you scratch a great photograph, you find two things; a painting and a photograph.

If you scratch through the deceitful artifice of contemporary photography, you'll find the real artifice underneath.

If you take photos, don't speak, don't write, don't analyze yourself, and don't answer any questions.

If you take pictures does that make you an art thief?

If you take 2001: A Space Odyssey as an example of somebody who creates a new language in film by what he was able to accomplish with art direction, photography, lighting, etc., it is still a gold standard for science fiction.

If you view your life as a piece of fabric or a tapestry, the photography is the stitching. It keeps everything together.

If you want to photograph a man spinning, give some thought to why he spins. Understanding for a photographer is as important as the equipment he uses.

If you want to write you should learn the alphabet. You write and write and in the end you hava a beautiful, perfect alphabet. But it isn’t the alphabed that is important. The important thing is what you are writing, what you are expressing. The same thing goes for photography. Photographs can be technically perfect and even beautiful, but they have no expression.

I get so confused about life photography art.

I get totally out of myself. It's the closest I come to not existing, I think, which is the best - which is to me attractive.

I got a lot of flak originally for writing with photographs, because the great cliche in photography is that one photograph is worth a thousand words, and photographers are usually dodo birds anyway.

I got into photography because of the immediacy of the medium. I used to sit in front of a canvas for weeks trying to create something. Now I can see the image right away.

I got to work with Robert DeNiro once and it was a strange experience. Gwyneth Paltrow and I were doing Great Expectations movie together and we were complaining about what a mediocre film experience it was. DeNiro showed up on set and all of a sudden the director got better, the director of photography got better - everybody got more interested and excited. DeNiro isn't waiting for other people to create the environment that he wants, he brings it along with him.

I got really excited about finding new ways of using video, and the immediacy is different, in a way, than painting and photography. The creativity comes with the editing. You can layer and cut and paste. I really love that it's like another form of making my smaller collages but in video form.

I guess I knew my dad was into photography, so a part of me was interested in picking it up to understand him a little better.

I gravitate towards places where humans have been and are no more, to the edge of man's influence, where the elements are taking over or covering man's traces.

I had a growing feeling that most of the best art of the world in painting and sculpture had been done, and that this newest form [photography] was more related to the progress and tempo of modern science of the eye.

I guess that's what I was: a set of abs. And they lit the abs and shot the abs and sent the abs on their way. The photographer didn't look at my face once. I was humiliated.

I had my young eyes opened by the impersonal blood and guts of news photography. I was running the gamut every low man on the totem pole runs - country clubs to mass murder.

I had no real photography experience, thankfully. I consciously took a lot of crowd shots. I was influenced by Seattle photographer Charles Peterson, who always seemed to incorporate fans in his live band shots.

I have always been fascinated by the life cycle, the way skin metamorphoses over time. I am mesmerized by skin and that's why I've been attracted to the nude. I do think people show their soul when they are stripped down psychically. There is something wondrous that happens when we relate on that level - and I am interested in that depth.

I had to go. A spirit in my feet said 'go,' and I went.

I hate it when people say, I'm an artist. I think, well, I'll be the judge of that. And I don't think artist is a job description. It's a critique, a favorable critique, that someone else might apply to your work. I guess in the art world I'm not exactly a photographer, but I do use photography.

I hate to say I'm a photographer, because I learned photography as I went along. But I also hate to say I'm a painter, a draftsman, even an artist. I think it's good when you're confused about what you are; it means you haven't defined yourself as an artist yet.

I have always felt that a lot of the most interesting work, not just mine but other people's, falls into [the] nether area, somewhere between the worlds of documentary and photojournalism (two very vague words) and the world of art. I think a lot of street photography falls into this nether area.

I have always thought that if I could turn back the pages of history and photograph one man, my choice would be Moses.

I have a Master's Degree in photography as a fine art, and I would call my work primarily conceptual. I don't carry cameras with me wherever I go. I get an idea of a subject matter I want to deal with and I pull out my cameras.

I had the attitude that I would work with this present-day material and do the best I could to describe it with photography, not intending to make any particular comment about whether it was good or bad or whether I liked it or not. It was just there, and I was interested in it. That's what I still do today.

I hate good taste. It's the worst thing that can happen to a creative person.

I have a burning desire to see what things look like photographed by me.

I have a deep respect and love for these tiny humans, and I hope to convey in my images a measure of the beauty that exists in all children.

I have all but killed myself for Photography. My passion for it is greater than ever. It's forty years that I have fought its fight... I am not fighting to make a 'name' for myself. Maybe you have some feeling for what the fight is for. It's a world's fight... All that's born of spirit seems mad in these days of materialism run riot.

I have always loved the amateur side of photography, automatic photographs, accidental photographs with uncentered compositions, heads cut off, whatever. I incite people to make their self-portraits. I see myself as their walking photo booth.

I have been heavily criticized in the past at magazines for my black-and-white photography and the aggressive punch - I prefer to call it strong emotion - to the pictures. When everything is virtually disposable I feel these pictures really stand out.

I have been photographing the portrait of an end of an era, as machines and computers replace human workers. What we have in these pictures is an archeology.

I have been using the art of photography to research the ways in which the pictorial strategies of the Nineteenth Century color the way in which the American landscape is apprehended by today's viewers.

I have been a witness, and these pictures are my testimony. The events I have recorded should not be forgotten and must not be repeated.

I have gradually confused photography and life and as a result of this I believe I am able to work out of myself at an almost precognitive level.

I have always found photography magical, and became more taken with it whilst modeling.

I have often thought that if photography were difficult in the true sense of the term - meaning that the creation of a simple photograph would entail as much time and effort as the production of a good watercolor or etching - there would be a vast improvement in total output. The sheer ease with which we can produce a superficial image often leads to creative disaster.

I have never had any hero in my life or in photography. I just travel, I look and everything influences me. Everything influences me. I am quite different now than I was 40 years ago. For 40 years I have been traveling. I never stay in one country more than three months. Why? Because I was interested in seeing, and if I stay longer I become blind.

I have people working together, doing different things: architecture, art installation, photography, publishing, and curatorial works and design.

I have never taken a picture for any other reason than that at that moment it made me happy to do so.

I have problems with a lot of photography, particularly street photography and photojournalism - objectifying the other, finding the contempt and exoticism that you might feel within yourself or toward yourself and projecting it out to others. There can be an abusive power to photography, too.