Photographer Quotes
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... the photographer is a thief who chooses what he steals (which, at this stage of the crisis, is a luxury) and does not democratize the image, that is to say, the photographer selects the pictures, a privilege which ought to be granted to the person being photographed.
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a likeness different from the products of the God-fearing photographer.
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If a photographer cares about the people before the lens and is compassionate, much is given. It is the photographer, not the camera, that is the instrument.
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Even though photographers are only shooting the outside, beauty is more about who you are as a person - the life you lead - not your facade.
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A great photographer shares what they fear losing most
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Basically I'm always looking for things. Any good photographer should always be looking for something, you know.
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I'm a writer and a photographer - I'm totally aware that doesn't always translate to TV.
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A photographer doesn't just copy reality, but communicates to others what he or she experiences.
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Once digital came, I could see my images instantly right there on the camera. I think that makes you a better photographer because you can see right there if your subject's eyes are closed or if you exposed it wrong and if it's too bright or dark. You can fix it right here. With film, you wouldn't know until you got the prints back if something was messed up, and then there was nothing you could do. That was a huge advantage.
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Herein lies the main objective of portraiture and also its main difficulty. The photographer probes for the innermost. The lens sees only the surface... .
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A photographer without a magazine behind him is like a farmer without fields.
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You are either born to be a photographer or not. The art of photography is not something you can learn in the classroom or by watching someone do it.
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There’s no shooting with the law of probabilities, otherwise you should just be a filmmaker and just point the camera and trigger. That’s called making film. If you’re a photographer, it’s about waiting for those decisive and clear moments.
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My uncle was a photographer for 'The Irish Times.'
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Words of wisdom for every photographer: 'Thinking is more interesting than knowing, but less interesting than looking'. So said Goethe.
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I never knew anyone who came close to Marilyn in natural ability to use both photographer and still camera. She was special in this, and for me there has been no one like her before or after. She has remained the measuring rod by which I have - unconsciously - judged other subjects.
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I believe it is the photographer's function to reveal that which is concealed, even if it be repugnant to the majority, not merely to record what we see around us.
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The picture is not made by the photographer, the picture is more good or less good in function of the relationship that you have with the people you photograph.
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There exists an infinite universe between the boundaries of light and darkness; the photographer explores this chasm in a ship of the imagination, that is the camera.
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The flow of people in a setting, their changing relationships to each other and their environment, and their constantly changing expressions and movements - all combine to create dynamic situations that provide the photographer with limitless choices of when to push the button. By choosing a precise intersection between subject and time, he may transform the ordinary into the extraordinary and the real into the surreal.
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Only capitalists get photographers.
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The precise instant of creation is when you choose the subject. Meaning that the essential thing occurs at the moment when he, the photographer, meets the reality he wishes to capture.
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I seem to walk in the world as two people. The normal everyday-me is as preoccupied, unobservant and oblivious to visual clues as I ever was. Then there is the photographer-me, the one who has a camera in hand and a specific project in mind, and then the world suddenly jumps to life with potential pictures, as if a switch had been thrown in my brain and a different person is looking out of the same eyes.
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Recording sessions were stimulating to photograph, because everything was in motion: the subject, the musicians, the technicians and the photographer. You needed fast reflexes to keep up with moving targets, and sensitivity and skill to get the pictures while keeping out of the performers' eyeline so as not to break their concentration.
