Photograph Quotes
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Well, in terms of what a camera does. Again, you go back to that original idea that what you photograph is responsible for how it [the photograph] looks. And it's not plastic, in a way. The problem is unique in photographic terms.
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I always wanted my photographs to challenge the status quo, to contest the kinds of images that existed in popular culture.
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You've got to deal with how photographs look, what's there, not how they're made.
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Most people stiffen with self-consciousness when they pose for a photograph. Lighting and fine camera equipment are useless if the photographer cannot make them drop the mask, at least for a moment, so he can capture on his film their real, undistorted personality and character.
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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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I never take a picture of a face because a face is somebody, an arm is not recognizable as somebody. When you take a photograph of someone's face, it identifies it as somebody, but if you take just a fragment, it's everybody. It's not one person.
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A good photograph is like a good hound dog, dumb, but eloquent.
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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 have to photograph where I am.
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I believe that the black-and-white photograph, or rather the gray zones in the black-and-white photograph, stand for this territory that is located between life and death.
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No photographer is as good as the simplest camera.
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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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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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If I photograph you I don't have you, I have a photograph of you. It's got its own thing. That's really what photography, still photography, is about.
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When I was a stylist, when we would photograph restaurants I was often hired to clean up the chef's stuff if they hadn't already done it.
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Whether a watercolor is inferior to an oil [painting], or whether a drawing, an etching, or a photograph is not as important as either, is inconsequent. To have to despise something in order to respect something else is a sign of impotence.
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All colors made me happy: even gray. My eyes were such that literally they Took photographs.
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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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I don't have anything to say in any picture. My only interest in photography is to see what something looks like as a photograph. I have no preconceptions.
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The photograph should be more interesting or more beautiful than what was photographed
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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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For me anyway when a photograph is interesting, it's interesting because of the kind of photographic problem it states - which has to do with the contest between content and form.
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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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[The photograph] is the object itself... [It] shares, by virtue of the very process of its becoming, the being of the model of which it is the reproduction; it is the model.
