Photograph Quotes
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I dug myself a garden, and a stray cat I grew to like would come around to sulk in the corn. I forced myself to seek new love, and for a while, I thought I'd found it with a girl from my office. She was molten in my bed, but she also suffered depressions that were very dear to her. She would often call just to sigh at me for two hours on the phone, wanting me to applaud her depth of feeling. I cut if off, then missed her, wishing that I'd at least had the sense to take her naked photograph.
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I photograph in public and semi-public spaces that date from various epochs. These are spaces accessible to everyone. They are places where you can meet and communicate, where you can share or receive knowledge, where you can relax and recover. They are spas, hotels, waiting rooms, museums, libraries, universities, banks, churches and, as of a few years ago, zoos. All of the places have a purpose, as for the most part do the things within them.
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Light is everything in photographs and has to be considered in all situations.
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Language is a very complicated thing, and that's one of the reasons why I like making photographs.
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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.
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For all the textbook reasons - any individual's reading of a photograph is preceded by the evidential authority of the medium. You have the literalness of a glass on a table - and at the same time of that evidential authority that you can't get around, there is the possibility of universalizing the subject - of getting the whole world into the picture.
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What I have tried to do is involve the people I was photographing... if they were willing to give, I was willing to photograph.
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The content of Saul Leiter's photographs arrives on a sort of delay: it takes a moment after the first glance to know what the picture is about. You don't so much see the image as let it dissolve into your consciousness, like a tablet in a glass of water.
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I can look at a fine art photograph and sometimes I can hear music.
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To the vast majority of people a photograph is an image of something within their direct experience: a more-or-less factual reality. It is difficult for them to realize that the photograph can be the source of experience, as well as the reflection of spiritual awareness of the world and of self.
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I photograph from the heart. I adore little babies and I think that shows. My images are really very positive, very simple, and from the heart. Babies speak a universal language.
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I know that everyone who listens to radio creates you in a visual image that they need you to have. Whatever that is, I thought, let them have it. Let me be who the listener needs me to be and let me not contradict that with the reality of my photograph and risk disappointing them.
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While we cannot describe its appearance (the equivalent), we can define its function. When a photograph functions as an Equivalent we can say that at that moment, and for that person the photograph acts as a symbol or plays the role of a metaphor for something that is beyond the subject photographed.
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All photographs are self-portraits.
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Part of the mystery of any given photograph is the fact that it was taken at a certain time and in a certain place and time keeps moving on. A photograph might be a moment in time preserved, but the world continues to change around it.
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A photograph is a mirror; mostly it reflects the prejudices of the viewer.
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Making movies you're not trying to capture reality, you're trying to capture a photograph of reality.
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It isn't an easy job to paint oneself - at any rate if it is to be different from a photograph. And you see - this, in my opinion, is the advantage that impressionism possesses over all the other things; it is not banal, and one seeks after a deeper resemblance than the photograph.
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Our memory is like a shop in the window of which is exposed now one, now another photograph of the same person. And as a rule the most recent exhibit remains for some time the only one to be seen.
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I tried to keep both arts alive, but the camera won. I found that while the camera does not express the soul, perhaps a photograph can!
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One should not only photograph things for what they are but for what else they are.
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Photograph not only what you see but also what you feel.
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When I look at pictures I have made, I have forgotten what I saw in front of the camera and respond only to what I am seeing in the photographs.
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I can't verbalize the internal meaning of pictures whatsoever. Some of my friends can at very mystical levels, but I prefer to say that, if I feel something strongly, I would make a photograph, that would be the equivalent of what I saw and felt.