Photograph Quotes
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It's never as good the second time. Things don't get better. You can't always go back, a lot of it has been erased. The photograph is a record of it having existed.
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But before all else a work of art is the creation of love. Love for the subject first and for the medium second. Love is the fundamental necessity underlying the need to create, underlying the emotion that gives it form, and from which grows the unfinished product that is presented to the world. Love is the general criterion by which the rare photograph is judged. It must contain it to be not less than the best of which the photographer is capable.
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The photograph suggests that our image of reality is made up of images. It makes explicit the domination of mediation.
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The camera itself, the photograph itself, calls up death.
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My intention is to make interesting photographs. That's it, in the end. I don't make it up. Let's say it's a world I never made. That's what was there to deal with.
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Kodachrome, it gives us those nice bright colors Gives us the greens of summers Makes you think all the world's a sunny day, oh yeah! I got a Nikon camera, I love to take a photograph So momma, don't take my Kodachrome away.
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Facts cling to photographs like dust.
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If you are intent on drawing or painting on your prints, you must first learn to draw and paint at least as well as you photograph.
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A photograph can look anyway. It just depends basically on what you photograph.
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Let's put it this way - I photograph what interests me all the time. I live with the pictures to see what that thing looks like photographed. I'm saying the same thing; I'm not changing it.
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To me, photographs are like words and I generally will place many photographs together or print them one inside the other in order to construct a free-floating sentence that speaks about the world I witness.
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I do not photograph for ulterior purposes. I photograph for the thing itself - for the photograph - without consideration of how it may be used.
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The photograph contains and constrains within its own boundaries, excluding all else, a microcosmic analogue of the framing of space which is knowledge. As such it becomes a metaphor of power, having the ability to appropriate and decontextualize time and space and those who exist within it.
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A spatial, temporal work had only to be exhibited in a gallery and then written about and reproduced as a photograph in an art magazine. Then this record of the no longer extant installation, along with accretions of information after the fact, became the basis for its fame, and to a large extent its economic value.
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The business of making a photograph may be said in simple terms to consist of three elements: the objective world (whose permanent condition is change and disorder), the sheet of paper on which the picture will be realized, and the experience which brings them together.
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You can talk about a caption underneath a photograph being true or false, because there is a linguistic element. You can claim that a photograph is a picture of a horse or a cow, but it is the sentence that expresses the claim, which is true or false, not the photograph.
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To be a photographer, one must photograph. No amount of book learning, no checklist of seminars attended, can substitute for the simple act of making pictures.
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What you photograph is responsible for how a photograph looks - the form, the design, whatever word you want to use.
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The moment you make a photograph you consign whatever you photograph to the past as that specific moment no longer exists, it is history. The photography that I practice takes place in a specific time and place, depicting real moments in people’s lives. In some ways I think of myself as a historian, but not of the word. History is most often written from a distance, and rarely from the viewpoint of those who endured it.
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What i like about photographs is that they capture a moment that’s gone forever, impossible to reproduce.
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The more you photograph, the more you realize what can and what can't be photographed. You just have to keep doing it.
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I don't photograph anyone if I can't meet with them first because if I don't do that, then they're just going to the dentist and they're filled with fear. They don't know who I am.
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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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I have a special relationship with God. And when I take the right photograph, God gives me a little bing! in the camera. And then I know I'm on the right track.
