Best 314 quotes in «photograph quotes» category

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.

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

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.

Nothing is as deceptive as a photograph.

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

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

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.

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

Our memory is like a shop in the window of which is exposed now one, now another photograph of the same person. And as a rule the most recent exhibit remains for some time the only one to be seen.

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

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.

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.

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.

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

Our dreams are made of real things, like a shoebox full of photographs.

Our photographs are filthier and our stories are more disgusting. We make no effort to be artistic.

People taking photographs of their meals are not critics; they are from the United States.

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 photograph everything and nothing - no interaction is deemed to have actually happened unless somebody has a picture of it.

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

Photographs are but one link in a potentially endless chain of reduplication; themselves duplicates (of both their objects and, in a sense, their negatives), they are also subject to further duplication, either through the procedures of printing or as objects of still other photographs.

Photographs are the most curious indicators of reality.

Photographs shock insofar as they show something novel.

Photographs are not only points of reference... they're often triggers of ideas.

Photographs furnish evidence. Something we hear about, but doubt, seems proven when we're shown a photograph of it.

Photographs have a relevance for things that cannot be said.

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.

That [photographs] disturb readers is exactly as it should be: that's why photojournalism is often more powerful than written journalism.

Positively, the effect of speeding up temporal sequence is to abolish time, much as the telegraph and cable abolished space. Of course, the photograph does both.

Practice the mechanics of making photographs until it becomes second nature.

Strictly speaking, it is doubtful that a photograph can help us understand anything.

Sometimes you remember your life in photographs that were never taken.

Take pictures all the time. Don't worry if you take a bad photograph; you learn more by taking a bad picture than a good one. If you don't like it, study it and figure out why you don't like it. You'll learn from your mistake.

That's who comes to my workshops. I jokingly tell my students that the class could be called "Your photographs: Better.

The camera itself, the photograph itself, calls up death.

The best photographs are made by the best people.

The cartoon absolutely captures something that acres and acres of copy can't. And even photographs can't.

The act of making a photograph is less a question of what is being looked at than how.

The camera can photograph thought.

The formal artistic gesture is already expressed in the act of taking the photograph.

The context in which a photograph is seen affects the meaning the viewer draws from it.

The few people who ask to have their photographs with me, I almost always say yes, except for a few circumstances, like when my family is around.

The good photograph is not the object, the consequences of the photograph are the objects.

The good photograph is not the object, the consequences of the photograph are the objects. So that no one would say, how did you do it, where did you find it, but they would say that such things could be.