Best 314 quotes in «photograph quotes» category

I expect photographs to find me. I never thought of looking for them. I instinctively put them there. My intellect had nothing to do with it.

I fall in love with almost every person I photograph. I want to hear their stories. I want to get close. This is personal for me.

If anybody wanted to photograph my life, they'd get bored in a day.

I feel totally responsible for what I see. I feel totally responsible for what I photograph.

I felt like an undeveloped photograph that he was printing, my image rising to the surface under his gaze.

If everything that existed were continually being photographed, every photograph would become meaningless.

If I feel confident wearing something, I think it translates in photographs. It changes my demeanor and posture.

If I’d only known which [photographs] would be very good and liked, I wouldn’t have had to do all the thousands of others.

I found that while it was interesting to travel around and take the photographs, I would find that I was more interested in the stories behind the photographs. I was more interested in narrative.

If you get one photograph that's good from a trip, that's plenty.

If there is pain in my photographs, it relates to the pain in my own existence.

If you finish like a photograph, on the other hand, the picture has as much personality as a photograph.

I go out to take a walk, I see something, I take a picture.  I take photographs. I have avoided profound explanations of what I do.

If you were to ask me to define a photograph in a few words, I would say it is a fossil of light and time.

If you make an honest picture of war, it will be an antiwar photograph.

I hate being the subject of photographs.

I hate photographs abstractly, because they have given me more ideas perversely and immovably wrong, than I ever should get by imagination.

I hate red carpet photographs!

I have always tried to keep truth in my photographs. My work, whether realistic or abstract, has always dealt with a form of religion or imagination.

I have a terror of things being nice and knowing what to expect. Making a photograph is a license to have experiences that I would not otherwise have.

I have a photograph of my grandfather driving a donkey cart barefoot.

I have never been skinny. The thing is, I was in an industry where being athletic was not celebrated. I have friends who are supermodels, and I never had that body. I've never been asked to walk in a Versace show. I was doing the covers of the magazines while they were cruising the clothes down the runway, and then they'd bring me the clothes and I'd have to photograph them.

I have a vision of life, and I try to find equivalents for it in the form of photographs.

I have looked at so many photographs, I can not see them anymore.

In all my work there's this notion of the melancholic. You can make a photograph about the sublime, but you can't make the sublime itself.

I have yet to see a fine photograph which is not a good document.

I love doing commercials! Usually, they have enough money that they can take time and photograph it well.

I'm interested in photographs that have no personal signature.

I love sharing photographs and websites, I'm for all of these things. I'm for Facebook. But to say that this is sociability? We begin to define things in terms of what technology enables and technology allows.

I'm very interested in making the photographs look real, but a lot of them are highly synthetic. They're hybrids, located somewhere between the found and the constructed.

I never photograph sunsets and I never photograph moonrises. I'm not interested in what things look like.

In the blur of the photograph, time leaves its gleaming, snail-like track.

I never photograph anything I don't believe in. If I love working with death, it's because even in death I find this power of reality that no sculptor or painter could recreate, not even a Michelangelo or a Da Vinci.

I never look for a photograph. The photograph finds me and says, I'm here! and I say, Yes, I see you. I hear you.

I never think of photographs as being individual. Always as a group.

In my photographs it is apparent that there was no posing at the moment I released the shutter.

In the late nineties, Katy Grannan began making haunting photographs of people who had extraordinary inner yens to be seen by strangers.

I often try to photograph things about a person that are not visible.

I paint what cannot be photographed, something from the imagination... I photograph the things I don't want to paint, things that are already in existence.

I photograph like a documentarian, but I print like a painter

I paint when I cannot photograph.

I photograph to find out what something will look like photographed.

I received my training at an art academy, so what I produce is art. That's what is artistic about my photographs.

I said the photograph isn't what was photographed, it's something else. It's about transformation. And that's what it is.

I started making photographs as if I were a child myself. This got me to look at things more closely, more slowly, and from vantage points I hadn't considered before.

I see myself in [the] tradition of encounter and witness - a witness that sees the photograph as evidence.

I still think as a painter - especially in terms of structuring a picture... I carefully choose the models, costumes, requisites, and backdrops of my photographs.

I suddenly understood that a photograph could fix eternity in an instant.

I try to photograph what can't be photographed - psychological or subjective reality, which seems more real than physical or consensual reality.

I try to photograph my own and society's hypocrisy.