Photograph Quotes
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I have a way to photograph. You work with space, you have a camera, you have a frame, and then a fraction of a second. It's very instinctive. What you do is a fraction of a second, it's there and it's not there. But in this fraction of a second comes your past, comes your future, comes your relation with people, comes your ideology, comes your hate, comes your love - all together in this fraction of a second, it materializes there.
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Photographs are but one link in a potentially endless chain of reduplication; themselves duplicates (of both their objects and, in a sense, their negatives), they are also subject to further duplication, either through the procedures of printing or as objects of still other photographs.
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The physical thing of having a man following you around all day trying to take your photograph - it's eerie. There is a pure physical response. If you go up and kick a dog, it will bite you. But with photographers, you can't do that.
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Having Buzz there is a great achievement, he was on the first moon landing alongside Neil Armstrong, so getting his signature on a beautiful panoramic photograph will be an historical item to treasure.
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There is no photograph more inherently photographic than another.
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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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I feel like I'm doing something that's worthwhile. I feel like I'm showing something other people haven't shown. I don't get to talk to the people who I photograph, I just go, along, banging away. So I don't really have a relationship with them. A lot of people think it's very important. I don't. It's like love at first sight. I have an impression when I see somebody, and I have an idea of who they are, or what they are.
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A photograph never grows old. You and I change, people change all through the months and years but a photograph always remains the same. How nice to look at a photograph of mother or father taken many years ago. You see them as you remember them. But as people live on, they change completely. That is why I think a photograph can be kind.
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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.
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I have been criticized a lot for not looking perfect in every photograph. I'm not embarrassed about it. I'm proud of it. If I took perfect pictures all the time, the people standing in the room with me, or on the carpet, would think, 'What an actress! What a faker!'
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Dialectical thought is related to vulgar thinking in the same way that a motion picture is related to a still photograph. The motion picture does not outlaw the still photograph but combines a series of them according to the laws of motion.
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Everyone looks the same to me in a photograph: stupid.
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It's too presumptuous and naïve to think you can change society by a photograph or anything else... I equate that with propaganda; I think that's a lower rank of purpose.
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There is no special way a photograph should look.
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I have never taken a photograph without one thought in my head to amuse myself.
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It's important to me to have what I photograph undergo a certain transformation - to become a thing different from what we are used to, to be another version of itself.
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I had always been kind of obsessed with making a home of my own and was always drawing rooms that I wanted to live in, down to pictures on the wall and the faces that would be in the photographs.
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I don’t have a philosophy. I have a camera. I look into the camera and take pictures. My photographs are the tiniest part of what I see that could be photographed. They are fragments of endless possibilities.
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What if I said that every photograph I made was set up? From the photograph, you can't prove otherwise. You don't know anything from the photograph about how it was made, really.
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Every photograph is a battle of form versus content.
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I imagined Dad beside me: “It’s pretty,” he’d say. “But pretty isn’t enough for a great photograph. Show me why I care. What’s the story?
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There's no way a photograph has to look... in a sense. There are no formal rules of design that can apply.
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I try to photograph people's spirits and thoughts. As to the soul-taking by the photographer, I don't feel I take away, but rather that the sitter and I give to each other. It becomes an act of mutual participation.
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Every photograph that is made whether by one who considers himself a professional, or by the tourist who points his snapshot camera and pushes a button, is a response to the exterior world, to something perceived outside himself by the person who operates the camera.
