Photograph Quotes
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I photograph continuously, often without a good idea or strong feelings. During this time the photos are nearly all poor, but I believe they develop my seeing and help later on in other photos. I do believe strongly in photography and hope by following it intuitively that when the photographs are looked at they will touch the spirit in people.
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Anyone who looks for life can find it... and they don't need to photograph ashcans. The average camera fan reminds me of Pollyanna, with a lollypop in one hand and a camera in the other. You can't be a Nice Nelly and take news pictures.
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I'm even taller in person, because photographs shrink you down and steal your soul native american.
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I have always loved the amateur side of photography, automatic photographs, accidental photographs with uncentered compositions, heads cut off, whatever. I incite people to make their self-portraits. I see myself as their walking photo booth.
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My chief joy is to photograph the great in heart, in mind, and in spirit, whether they be famous or humble.
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Nothing is as deceptive as a photograph.
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Photographs and reality are just night and day. In reality, the information is all there. A photograph is just kind of a hint.
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I never wanted to be famous. I always wanted to take famous photographs.
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I said the photograph isn't what was photographed, it's something else. It's about transformation. And that's what it is.
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It's easy to photograph light reflecting from a surface, the truly hard part is capturing the light in the air.
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I keep that memory somewhere inside me—where it’s safe. I take it out and look at it when I need to. As if it were a photograph.
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People put barriers up in your path, and one of those barriers is age. They tell you, "You're too old. You don't photograph so well anymore." I know I don't photograph so well anymore, so what can I do? I can do something different, where it doesn't matter as much how I look.
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I don't care how you photograph - use the kitchen mop if you must, but if the product is not true to the laws of photography... you have produced something that is dead. (1923)
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Seeing is not enough; you have to feel what you photograph
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In the end, maybe the correct language would be how the fact of putting four edges around a collection of information or facts transforms it. A photograph is not what was photographed, it's something else.
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When I photograph someone, I want to shoot the subject and get them out of my studio so I can play with the photos and do all the stuff I want.
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A pun calls the meaning of a word into question, and it upsets us tremendously. We laugh because suddenly we find out we're not going to get killed. I think a lot of things work that way with photographs.
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I told myself I'd do well by using the experience I gained during my seven years as Big Bang. In my mind, the executive producer is the person that is in charge of everything up to the point that the album comes out. So not just the music but also the music video, album artwork, photographs, and even the material the album itself would be made out of.
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I'm a good craftsman and I can have this particular intention: let's say, I want a photograph that's going to push a certain button in an audience, to make them laugh or love, feel warm or hate or what - I know how to do this.
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So many times I've photographed stories that show the degradation of the planet. I had one idea to go and photograph the factories that were polluting, and to see all the deposits of garbage. But, in the end, I thought the only way to give us an incentive, to bring hope, is to show the pictures of the pristine planet - to see the innocence.
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I never know in advance what I will photograph,...I Go Out into the World and Hope I Will come across something that Imperatively interests me. I Am Addicted to the Found object. I have No doubt that I Will Continue to make Photographs till my last Breath.
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I never saw a pyramid, but I've seen photographs; I know what a pyramid or a sphinx looks like. There are pictures that do that, but they satisfy a different kind of interest.
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It is a great honor for me to be compared to Henri Cartier-BressonBut I believe there is a very big difference in the way we put ourselves inside the stories we photograph. He always strove for the decisive moment as being the most important. I always work for a group of pictures, to tell a story. If you ask which picture in a story I like most, it is impossible for me to tell you this. I don't work for an individual picture. If I must select one individual picture for a client, it is very difficult for me.
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If you run into a monkey in some idiot context, automatically you've got a very real problem taking place in the photograph.
