Photograph Quotes
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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 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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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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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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I have never taken a photograph without one thought in my head to amuse myself.
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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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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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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'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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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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There is no special way a photograph should look.
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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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Every photograph is a battle of form versus content.
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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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The photograph gives constant reference to the rectangle. This forces any idea into the confines of pictorial illusionism.
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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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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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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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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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My work is mostly about memory. It is very important to me that everybody that I have been close to in my life I make photographs of them.
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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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It's marvelous, marvelous! Nothing will ever be as much fun. I'm going to photograph everything, everything!
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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.
