Best 2475 quotes in «photography quotes» category

A reader, encountering a sentence about a barking dog, would have to dwell on why that choice was made at that moment. Everything in a novel is explicitly chosen, whereas some of what a film captures feels incidental, according to the vagaries of photography and sound recording.

Art and accident are one.

... art is images you carry. You cannot carry nature with you, but you carry images of nature. When you go out to make a picture you find you are moved by something which is in agreement with an image you already held within yourself.

Art is the highest task and the proper metaphysical activity of this life.

As a good picture would come, I would never know exactly what I had done. When you did see it, it would strike you as a great surprise - who did that? How did it happen? Being surprised by your own work makes you both less serious and have serious reverence.

As an allegorical art, then, photography would represent our desire to fix the transitory, the ephemeral, in a stable and stabilizing image.

As an avid photographer, I also took advantage of the latest technology in photography - digital photography - to post photos on my website on a daily basis.

As a senior in high school my counselor recommended that I soften my science and math direction with an art course. Fortunately my high school offered a new course in B&W photography, so I opted for that instead of art, towards which I had an aversion. Composition is something that comes pretty naturally to me and I appreciate ordered chaos: the photo class turned out to be fun.

As a teenager, I loved acting, painting, photography, and making films with my friend's Super 8 camera. But I always loved writing the best. I chose writing even before I knew poetry was available to me.

As far as digital technology has come, there's still one thing that digital cameras won't do: give you perfect color every time. In fact, if they gave us perfect color 50% of the time, that would be incredible, but unfortunately every digital camera (and every scanner that captures traditional photos) sneaks in some kind of color cast in your image. Generally, it's a red cast, but depending on the camera, it could be blue. Either way, you can be pretty sure-there's a cast.

As for myself, I'm attracted to venture into places with peeling paint, and areas that are crumbling a little bit. It makes sense because we've already established the photography focusing on architecture, even if it looks incorrect, there's something appealing about entering that.

As for the various kinds of montage photography, they are in reality not photography at all but a kind of painting in which photography is used - as pastiches of textiles are used in crazy-quilts - to form a mosaic. Whatever value the montage may have derives from painting rather than the camera.

As in any person's life, there have been difficult moments: I have a son with Down's syndrome; through my photography, I have witnessed all manner of human degradation. But there have also been very happy moments.

As is often said of photography, this photograph is a frozen moment. A frozen moment is not a moment at all.

As I progressed further with my project, it became obvious that it was really unimportant where I chose to photograph. The particular place simply provided an excuse to produce work... you can only see what you are ready to see - what mirrors your mind at that particular time.

Arguments against photography ever being considered a fine art are: the element of chance which enters in, — finding things ready-made for a machine to record, and of course the mechanics of the medium. I say that chance enters into all branches of art.

. . .art is a discovery of harmony, a vision of disparities reconciled, or shape beneath confusion.

Art can no longer be merely a mirror, it must act as the organizer of the people's consciousness... No form of representation is so readily comprehensible to the masses as photography.

Art does not in fact prove anything. What it does do is record one of those brief times, such as we each have and then each forget, when we are allowed to understand that the Creation is whole.

Art films aren't necessarily photography. It's feeling. If we can capture a feeling of a people, of a way of life, then we made a good picture.

Art for art's sake is dead, if it ever lived.

Art is the splendor of reality before everything has become meaning.

Art photography, although long since legitimized by all the conventional discourses of fine art, seems destined perpetually to recapitulate all the rituals of the arriviste. Inasmuch as one of those rituals consists of the establishment of suitable ancestry, a search for distinguished bloodlines, it inevitably happens that photographic history and criticism are more concern with notions of tradition and continuity than with those of rupture and change.

As I became aware that all things have unique spatial and temporal qualities which visually define and relate them, I began to perceive the things I was photographing not as objects but as events. Working to develop my skills of perceiving and symbolizing these event qualities, I discovered the principle of opposites. When, for example, I photographed the smooth, luminous body of a woman behind a dirty cobwebbed window, I found that the qualities of each event were enhanced and the universal forces which they manifested were more powerfully evoked.

As I have practiced it, photography produces pleasure by simplicity. I see something special and show it to the camera. A picture is produced. The moment is held until someone sees it. Then it is theirs.

Asked for your opinion on the prints, you have two choices: truth or tact. I ask for the bathroom.

Ask photographers to write and they have nothing to say; ask them to talk about their work and they won't shut up.

As photographers, we live through things so swiftly. All our experience and training is focused toward snatching off the highlights... That all significant perfect moment, so essential to capture, is often highly perishable. There may be little opportunity to probe deeper.

As Spectator I wanted to explore photography not as a question (a theme) but as a wound.

As much as I love music, in my mind, photography is what makes me the happiest - that's for sure.

As the oldest I was a daddys girl and loved him with all my heart. My daddy had holes in his shoes so that he could pay for my photography classes, you know what I mean.

A studio session ... provides the greatest chance for control. Even though there is total freedom, I still dislike studio photography and the contrived images that usually stem from this genre.

As people, we love pattern. But interrupted pattern is more interesting.

As the possibilities for straightforward photography seem to have become exhausted it has been the photographers who know about the history of art, not simply the history of photography, who have shaped important directions for the future.

As you get older, you have different tools, and you learn to use photography differently.

As you see something that yo want to shot and it's bearing down on you, it's important to start framing long before the subject gets close to you. The light will reveal itself possibly long before you want to take the image, but you have to wait until the picture comes to you, and if you've been anticipating carefully when the subject will be in position, the background will have been figured out in advance.

At a fundamental level photography is much like pointing, and all of us occasionally point at things: look at that, look at that sailboat, look at that tree, etc. etc.

A thing is not what you say it is or what you photograph it to be or what you paint it to be or what you sculpt it to be. Words, photographs, paintings, and sculptures are symbols of what you see, think, and feel things to be, but they are not the things themselves.

At one point cinema and photography weren't treated as art. Now it's crazy to think they're not. The key question is "What is art today?" The most important artists of the last 20 years are Steve Jobs and Jonathan Ive, because the influence they have had is incredible and they've changed the world. That is art.

At first glance a photograph can inform us. At second glance it can reach us.

At some point in life the world's beauty becomes enough. You don't need to photograph, paint or even remember it. It is enough.

At exhibition openings always praise the chicken for laying eggs; you can wring its neck later.

At the heart of all photography is an urge to express our deepest personal feelings - to reveal our inner, hidden selves, to unlock the artist. Those of us who become photographers are never satisfied with just looking at someone else's expression of something that is dear to us. We must produce our own images, instead of buying postcards and photo books. We seek to make our own statements of individuality.

At this sunset hour, the canyon walls are indescribably beautiful and I fear the magic of photography can never record what I see now. The tall spires near the canyon's top and the walls of the canyon up there look as if God had reached out and swiped a brush of golden paint across them, gilding these rocks in the bright glow of the setting sun.

At birth we begin to discover that shapes, sounds, lights, and textures have meaning. Long before we learn to talk, sounds and images form the world we live in. All our lives, that world is more immediate than words and difficult to articulate. Photography, reflecting those images with uncanny accuracy, evokes their associations and our instant conviction. The art of the photographer lies in using those connotations, as a poet uses the connotations of words and a musician the tonal connotations of sounds.

At the end of the day, photography is ninety-nine percent business, connections, and politics and one percent creativity.

A way of certifying experience, taking photographs is also a way of refusing it - by limiting experience to a search for the photogenic, by converting experience into an image, a souvenir. Travel becomes a strategy for accumulating photographs.

A work can do many things at once, and it doesn't have to be just about the world, it could also be about photography, it could be about perception, it could be an exploration of the medium. It could be a document, it could be a visual poetry, and it could be a formal exploration all at the same time.

A woman artist could be one of those intuitive geniuses [who] have kept their childlike spirit and have added to it breadth of vision and experience.

At Columbia there's no performing arts department, so I was searching for it everywhere I could, and I took some photography classes and I ended up becoming fascinated with Eastern Religion, and ultimately it seemed to encompass the more abstract mind that I have.