Best 314 quotes in «photograph quotes» category

...the logic of the photograph is neither verbal nor syntactical, a condition which renders literary culture quite helpless to cope with the photograph.

The particular qualities and intentions of photographs tend to be swallowed up in the generalized pathos of time past.

The photograph is like a quotation, or a maxim or proverb. Each of us mentally stocks hundreds of photographs, subject to instant recall.

The photograph as an object has a relationship to that which it represents something like the relationship the snake skin has to the snake that sheds it.

The photograph is a coarse fraud, and seems to delight only in taking the whole beauty out of the picture.

The photograph is an incomplete utterance, a message that depends on some external matrix of conditions and presuppositions for its readability.

The photograph isn't good enough. It's not real enough.

[The photograph] is the object itself... [It] shares, by virtue of the very process of its becoming, the being of the model of which it is the reproduction; it is the model.

The photograph keeps open the instants which the onrush of time closes up forthwith; it destroys the overtaking, the overlapping, the metamorphosis of time.

There are certain restaurants where you should photograph the food rather than eat it. These are great places to bring a narcissistic boyfriend before you break up.

There are no photographs while I'm reloading .

There are particular images that I like. Allegro is composed of a series of still life photographs that has been put to speed. There is so much care that has gone into the composition of the cinematography.

The photographs of Iraqi prisoners being subjected to degrading and humiliating treatment by their captors, and the reports of acts of sexual abuse, physical abuse, and other acts of maltreatment shock the conscience.

[The photographs] were there simply to indicate a radical art that had already vanished. The photograph was necessary only as a residue for communication.

There are photographs that I don’t take now, that I previously would have taken without any thought at all as to any misinterpretations.

There are things that I teach, about building photographs, and that's why people come to my workshops. When people come to the workshops, they're consumed with seeking the subject, and I teach seeking the setting.

There are wonderful museums with lots of photographs of 1920's musicals.

There have to be at least two copies of a photograph, otherwise it’s not a photograph.

There is a great difference between shooting a photograph and making a photograph.

There is a vast difference between taking a picture and making a photograph.

There is a word we haven't used yet: virginity... To make a photograph, the plate must be virgin, but your eye as well.

There's a discipline. When you take someone's portrait, you don't have to take 50 photographs, just find that one so that when you release the shutter, that's the image that you took.

The sense of smell can be extraordinarily evocative, bringing back pictures as sharp as photographs of scenes that had left the conscious mind.

The transactions between me and the people that I photograph are very very collaborative.

The true authenticity of photographs for me is that they usually manipulate and lie about what is in front of the camera, but never lie about the intentions behind the camera.

The true content of a photograph is invisible, for it derives from a play, not with form, but with time.

The viewer must bring their own view to a photograph.

To go and photograph an airbase is not only to photograph something but it is to insist on one’s right to photograph. You’re flexing that right.

The photograph is kind of a proof - a proof that I actually met these people, that they actually have lives, and that they're worth considering.

The photograph... is not a picture of something, but is an object about something.

The photograph is the only picture that can truly convey information, even if it is technically faulty and the object can barely be identified. A painting of a murder is of no interest whatever; but a photograph of a murder fascinates everyone.

The world now contains more photographs than bricks, and they are, astonishingly, all different.

This is what I like about photographs. They're proof that once, even if just for a heartbeat, everything was perfect.

Those who do not learn how to decipher photographs will be the illiterate of the future.

To make a photograph is already the first artificial act.

To photograph people is to violate them, by seeing them as they never see themselves, by having knowledge of them that they can never have.

Time past cannot be stopped, saved, or regained. But a photograph allows you to borrow it.

Unless you photograph what you love, you're not going to make good art.

Unless it hurts, unless there’s some vulnerability there, I don’t think you’re going to get good photographs.

Warhol turned to photographs of stars, as the Renaissance turned to antiquities, to find images of gods.

We as women are trained to see ourselves as cheap imitations of fashion photographs, rather than seeing fashion photographs as cheap imitations of women

We perceive and interpret the outer world through a set of incredibly fine internal receptors. But we are incapable, by ourselves, of grasping or tweezing out any permanent, sharable figment of it. Practically speaking, we ritually verify what is there, and are disposed to call it reality. But, with photographs, we have concrete proof that we have not been hallucinating all our lives.

What if I said that every photograph I made was set up? From the photograph, you can't prove otherwise. You don't know anything from the photograph about how it was made, really.

What I really try to do is photograph people at rest, in a state of serenity.

We are judged, not by the photographs we take, but by the photographs we show.

What is it that angers us?... We have been tricked. In essence, we have been lied to. The problem is not that the photograph has been manipulated, but that we have been manipulated by the photograph.

What most of us are after, when we have a picture taken, is a good natural-looking picture that doesn't resemble us.

What the Photograph reproduces to infinity has occurred only once: the Photograph mechanically repeats what could never be repeated existentially.

What would please me most is to make photographs as incomprehensible as life.

When I first started learning how to take photographs, you had to spend the first six months figuring out what an f-stop was. Now you just go and take pictures.