Best 623 quotes in «photographer quotes» category

Andre Breton once said that a portrait should not only be an image but an oracle one questions, and that the photographer's aim should be a profound likeness, which physically and morally predicts the subject's entire future.

And your own life while it's happening to you never has any atmosphere until it's a memory.

Anybody can be a great photographer if they zoom in enough on what they love.

Anything more than 500 yards from the car just isn't photogenic.

Anything that excites me for any reason, I will photograph; not searching for unusual subject matter, but making the commonplace unusual.

... art is images you carry. You cannot carry nature with you, but you carry images of nature. When you go out to make a picture you find you are moved by something which is in agreement with an image you already held within yourself.

As Estelle Jussim wrote, it is almost impossible for a single photograph to state both the problem and the solution.

A skillful photographer can photograph anything well.

Ask photographers to write and they have nothing to say; ask them to talk about their work and they won't shut up.

A studio session ... provides the greatest chance for control. Even though there is total freedom, I still dislike studio photography and the contrived images that usually stem from this genre.

Available light is any damn light that is available!

Believe in yourself. Listen to the photographers you work with, and try to be professional at all time.

Can you keep your balance? Can you see what and where you are at any given moment?

C.S. Lewis admitted, when he was asked to set forth his beliefs, that he never felt less sure of them than when he tried to speak of them. Photographers know this frailty. To them words are a pallid, diffuse way of describing and celebrating what matters. Their gift is to see what will be affecting as a print. Mute.

Discussions allow photographers to shuffle their prejudices

Don't overthink things in front of you. I fit moves you, shoot it. If it's fun, shoot it. If you've never seen it before, shoot it.

Don't park... Arrival is the death of inspiration.

Do we know what we look like? Not really.

During the work, you have to be sure that you haven't left any holes, that you've captured everything, because afterwards it will be too late.

Each picture you take has power as long as it brings experience to the person who’s looking at it.

Emphasis on technique is justified only so far as it will simplify and clarify the statement of the photographer's concept.

Essentially what you're doing is collaborating with the photographer to create an image that reflects the fashion you're trying to capture and also hold a mirror up to the zeitgeist at the moment.

Every image is in some way a “portrait,” not in the way that it would reproduce the traits of a person, but in that it pulls and draws (this is the semantic and etymological sense of the word), in that it extracts something, an intimacy, a force.

Every photograph is altered, to one degree or another.

Experience has shown that the more fascinating the subject, the less observant the photographer.

Far more interesting than problem solving is problem creation.

For a photographer, the first 70 years are a bit difficult, but after that things get better.

Forget about the profession of being a photographer. First be a photographer and maybe the profession will come after.

For me, art is such a wide concept - anything can be art.

For me, the best part is people who watch the movie and tell me it inspired them to collaborate with their friend who's a photographer or filmmaker.

For me the printing process is part of the magic of photography. It's that magic that can be exciting, disappointing, rewarding and frustrating all in the same few moments in the darkroom.

For me, the subject of the picture is always more important than the picture.

Gesture is not always action.

Get yourself in trouble. If you get yourself in trouble, you don't have the answers. And if you don't have the answers, your solution will more likely be personal because no one else's solutions will seem appropriate. You'll have to come up with your own.

Great photography is always on the edge of failure.

Great portrait photographers are great mythologists.

Have the utmost respect for your subjects. Love them.

Herein lies the main objective of portraiture and also its main difficulty. The photographer probes for the innermost. The lens sees only the surface... .

However, I must stress that my own interest is immediate and in the picture. What I am conscious of and what I feel is the picture I am making, the relation of that picture to others I have made and, more generally, its relation to others I have experienced.

I admired the work of photographers like Beaton, Penn, and Avedon as much as I respected the grittier photographers such as Robert Frank. But in the same way that I had to find my own way of reportage, I had to find my own form of glamour.

I admire photographers that don't need a destination. In some ways, street photography is like that. There's a quality of wanderlust for sure in my work, but I need a destination.

I agree that all good photographs are documents, but I also know that all documents are certainly not good photographs. Furthermore, a good photographer does not merely document, he probes the subject, he 'uncovers' it.

I always said 'yes' to everything.

I am a hobbyist photographer so I relate to the visual arts that way, but Im not a painter.

I am an artist first and a photographer second.

I am a perfectionist. When I take a picture...it's gotta be good.

I am a professional photographer by trade and an amateur photographer by vocation.

I am not interested in shooting new things - I am interested to see things new.

I became wary of simple interpretations that assumed fixed and final meanings.

I believe in a visual language that should be as strong as the written word.