Best 2475 quotes in «photography quotes» category

... a fact about photography: we can look at people's faces in photographs with an intensity and intimacy that in life we normally only reserve for extreme emotional states - for a first look at someone we may sleep with, or a last look at someone we love.

Aesthetics does not exist for the camera as an isolated entity. Aesthetics, in fact, is inseparable from the purpose of the photographer and the use he makes of his theme. When photography fails... it is usually because a false separation has been imposed on form and content.

A family's photograph album is generally about the extended family and, often, is all that remains of it.

A face is a road map of someone's life. Without any need to amplify that or draw attention to it, there's a great deal that's communicated about who this person is and what their life experiences have been.

Advice to artists: always take the opportunity to shut up.

A fool sees not the same tree that a wise man sees.

A few words about the question of whether photography is art or not: I never understood the question.

After the war, photography came alive, in part because everybody started to use the 35mm camera, and worked on the street instead of in a studio, and that made an enormous difference in not only how photographs looked, but what they were about.

A good snapshot stops a moment from running away.

A good print is really essential. I want to take strong documentary photographs that are as good technically as any of the best technical photographs, and as creative as any of the best fine-art photographs. [...] I don't want to just be a photo essayist; I'm more interested in single images...ones that I feel are good enough to stand on their own.

A hundredth of a second here, a hundredth of a second there-even if you put them end to end, they still only add up to one, two, perhaps three seconds, snatched from eternity.

After my kids were born I found myself incorporating my photography into different art endeavours and from there it just blossomed. I have always had to have an outlet for my creativity and when my life became more about raising my family than the bright lights of show business exploring my photo art was a great outlet for me.

All aspects of photography interest me and I feel for the female body the same curiosity and the same love as for a landscape, a face or anything else which interests me. In any case, the nude is a form of landscape. There are no reasons for my photographs, nor any rules; all depends on the mood of the moment, on the mood of the model.

All art is a vision penetrating the illusions of reality, and photography is one form of this vision and revelation.

...all along I've had an ambivalent relationship to photography - but as to whether I thought it an art form, or a craft, or a technique, well, I've always been taken with Henry Geldzahler's answer to that question when he said, I thought it was a hobby.

A landscape image cuts across all political and national boundaries, it transcends the constraints of language and culture.

All I really wanted to do was wildlife photography.

All I care about these days is painting — photography has never been more than a way into painting, a sort of instant drawing.

All I wanted was to connect my moods with those of Paris. Beauty pains and when it pained most, I shot.

All important pictures embody something that we do not yet understand.

All photographs aspire to the condition of being memorable - that is, unforgettable.

All my photographs are about meetings and about coups de foudre - love at first sight. To do that type of photography, one must wipe the canvas clean to prepare for chance encounters, be open and aware to such moments, otherwise it becomes a cliché - already seen and expected.

All photography is propaganda.

Allow yourself to lose your way.

All photography is Pop, and all photographers are crazy... they feel guilty since they don't have to do very much - just push a button.

All we did was to turn back the time to a photography of precision which is superior to the human eye.

All technical refinements discourage me. Perfect photography, larger screens, hi-fi sound, all make it possible for mediocrities slavishly to reproduce nature; and this reproduction bores me. What interests me is the interpretation of life by an artist. The personality of the film maker interests me more than the copy of an object.

A lot of photography is making records of people, as objects, friends. It's like organizing a wardrobe - in terms of size etc.

A lot of people seem to think that art or photography is about the way things look, or the surface of things. That's not what it's about for me. It's really about relationships and feelings...it's really hard for me to do commercial work because people kind of want me to do a Nan Goldin. They don't understand that it's not about a style or a look or a setup. It's about emotional obsession and empathy.

All the best ideas come out of the process; they come out of the work itself.

A lot of people think that when you have grand scenery, such as you have in Yosemite, that photography must be easy.

Always remember to make room to shoot what you love. It's the only way to keep your heart beating as a photographer.

Although I get a lot of ideas from things that have happened in my life, I see the final product as a place where my imagination meets my experience. What I love about photography is that nothing is really as it seems.

A lot of the photography I'm doing and thinking about is directed at Instagram.

Always shoot it now. It won't be the same when you go back.

A man with a camera was always suspected of being a spy. Moreover, the Jews did not want to be photographed, due to a misunderstanding of the prohibition against making graven images (photography had not been invented when the Torah was written!). I was forced to use a hidden camera.

Among the most compelling truths in some of the early photographs is their implication of silence.

Always wait for the trigger. The trigger is the final part of the puzzle, the reason you want to shoot.

A movie is painting, it's photography, it's literature - because you have to have the screenplay - it's music. Put a different soundtrack to a comedy and it's a tragedy. A movie combines all those forms and forces you to pay attention for two hours with a group of people.

A movie is painting, it's photography, it's literature - because you have to have the screenplay - it's music. Put a different soundtrack to a comedy and it's a tragedy.

A Ming vase can be well-designed and well-made and is beautiful for that reason alone. I don't think this can be true for photography. Unless there is something a little incomplete and a little strange, it will simply look like a copy of something pretty. We won't take an interest in it.

And even being in the middle of it, at the LVMH group with Dior, there are certain parts of it that I'm just not really in, because it's not in me or my nature. The whole scene around it, the events, the photography ... It's never really been my thing. But I don't take a critical position on people who are very much about that either.

... a mysterious intersection of chance and attention that goes well beyond the existential surrealism of the 'decisive moment'.

And if a day goes by without my doing something related to photography, it's as though I've neglected something essential to my existence, as though I had forgotten to wake up. I know that the accident of my being a photographer has made my life possible.

And I was very successful at baby photography... Strange isn't it? Because some of my portraits of babies were - I used dramatic lighting, shadow lighting, and I didn't use flash. We didn't have flash in those days, we just had floodlights, and I was photographing babies as I would an object - an inanimate object, for that matter.

And I don't like having my picture taken. I'm almost like an old African in that sense. I think it steals a bit of the soul.

And no photographs taken with the aid of flashlight either, if only out of respect of the actual light—even when there isn't any of it.

And only the photographer himself knows the effect he wants. He should know by instinct, grounded in experience, what subjects are enhanced by hard or soft, light or dark treatment.

And that desire-the strong desire to take pictures-is important. It borders on a need, based on a habit: the habit of seeing. Whether working or not, photographers are looking, seeing, and thinking about what they see, a habit that is both a pleasure and a problem, for we seldom capture in a single photograph the full expression of what we see and feel. It is the hope that we might express ourselves fully-and the evidence that other photographers have done so-that keep us taking pictures.

And friends of mine that had photography class in high school would develop the film and make prints and I'd take them back to the track and give 'em away or try and sell them. Much to my parents' dismay, I majored in photography in college.