Best 314 quotes in «photograph quotes» category

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

I hate being the subject of photographs.

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

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.

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.

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

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

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

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 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.

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

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 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 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.

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

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

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

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

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

I paint when I cannot photograph.

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

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

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 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 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 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.

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

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

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

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.

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.