Best 314 quotes in «photograph quotes» category

I think of my photographs as being obviously symbolic, but not symbolically obvious.

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

It is one of the peculiar characteristics of the photograph that it isolates single moments in time.

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

It seems to me that no one picture can ever be a final summation of a personality. There are so many facets in every human being that it is impossible to present them all in one photograph.

It seems to me that before the photograph can exist as art it must, by its very nature choose whether it is to be a record or a testimony.

It's like a magic well. You think you know everything about [a] photograph, you think you've gotten everything out of it, and all of a sudden I see things in it I'd never seen before.

It's important to me to have what I photograph undergo a certain transformation - to become a thing different from what we are used to, to be another version of itself.

I've always said that the only thing a photograph is good at capturing faithfully is another flat surface.

It's very difficult to photograph an opera. And they messed up on it. It just wasn't there. And I don't blame the Gershwins for taking it away. Of course, if they had gotten the original company to have done it, it would have been very good

It takes a while for a photograph to mature. That sounds really pretentious, but it takes a time for it to go from here to there.

Ive been criticised for pretty, smiley photographs, but at least someone is happy! In my mind, I am always giving the image to the sitter.

I wanted to jeopardize my own image. With my image I had already produced art pieces such as videos of photographs.

I want my photos to be fresh and urgent. A good photograph should be a call to arms.

[Making movies] you're not trying to capture reality, you're trying to capture a photograph of reality.

I was always involved in art and when I went under contract at Warner Bros. at 18, it afforded me the possibility of never having to stop painting, never having to stop taking photographs and so on, and to actually live a cultural life.

I wasn't familiar with Patti [Smith ]much at all. When I was asked to photograph her, my wife said, "Oh my God, Patti Smith!" So I looked at some Robert Mapplethorpe books and I recognized those pictures.

I would love to photograph Stephen Hawking. I am just fascinated by science, I really am.

Language is a very complicated thing, and that's one of the reasons why I like making photographs.

Lately I've been struck with how I really love what you can't see in a photograph. An actual physical darkness. And it's very thrilling for me to see darkness again.

Looking at a black and white photograph, you are already looking at a strange world.

l photograph what l do not wish to paint and l paint that which l cannot photograph.

I want to make photographs of very elegant women taking the lipstick off their teeth.

I was thinking of the word Surrealistic . . . I don't think it should be used exclusively with my photographs. The meaning is close but I think my tendencies are more toward the whimsical or absurd. Surrealism is more connected with morbidity. From that I am very far away.

I would never dream, for example, of going to The States to photograph your wildlife.

I would photograph an idea rather than an object, a dream rather than an idea.

Life is a photograph too, so thank you,for not removing yourself from the picture just yet.

Life is not significant details, illuminated by a flash, fixed forever. Photographs are.

Merging photographs can be more real than the isolated image because reality is so much more rich than just an isolated moment.

Most of the photographs people take with their cameraphones are of little value in terms of documentary.

My favourite things are just wandering from place to place, going to cafés, taking photographs. My favourite day is a happy accident.

Most photographs, to me, are description, but they lack insight.

My favorite photograph, is the one I will take tomorrow.

My photographs are subjective and personal-they’r e intended to be accessible, to relate to people’s lives... People-their well-being and survival-are the crux of what’s important to me.

My photographs are not just about the instant of movement you capture in the camera. It's much more total, about constant movement that became static.

My photographs recall the memories of the human race.

Old pictures look very rugged and young, and the people in the photographs always seem a lot happier than you are.

My wealth is measured not in money but in photographs, not in quantity but creativity.

My work is mostly about memory. It is very important to me that everybody that I have been close to in my life I make photographs of them.

Nobody ever discovered ugliness through photographs. But many, through photographs, have discovered beauty.

Not even the foulest atrocities of Adolf Hitler ever shocked me so badly as these photographs did.

Nothing is as deceptive as a photograph.

Often the tension that exists between the pictorial content of a photograph and its record of reality is the picture's true beauty.

One thing that struck me early is that you don’t put into a photograph what’s going to come out. Or, vice versa, what comes out is not what you put in.

One day the photograph is going to become even more important than it is now.... But I am not particularly an advocate of the photograph.

Photographs are two-dimensional. I work in four dimensions.

People aren't really looking at the result when taking a picture on an iPhone. And they don't print it. So to me, it's almost not a photograph. It's like looking in the mirror. It's a tool I don't relate to at all.

People who take photographs during their whole vacation won't remember their vacation. They'll only remember what photographs they took.

Photographs are detonators. They explode in us. We are the gaze as well as the gazed-at. The observer and the observed.

Our conviction that we are free to choose what we make of a photograph hides the complicity to which we are recruited in the very act of looking.