Photograph Quotes
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Photographs now speak in an eloquent way about the nature of vision itself. The philosophical implications of sight, of being able to see the world in three-dimensional terms, becomes very important within the context of the artistic photograph. The riddle of space and time is somehow stated with a little bit more clarity by virtue of seeing in-between the heartbeats.
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Things changed a little when I started taking photographs for magazines. I was afraid in the beginning. I thought, "Oh I can't do it, because I have never taken a photographs commercially for a magazine." But I wanted to learn so I started. But when I took models from agencies, I took beginners. Sometimes they were really good, but you have to work with them. You have to be good with women and the boys.
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People say photographs don't lie, mine do.
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Facts cling to photographs like dust.
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Making photographs that dealt with the understanding of who I am as a gay man and dealt with the process of accepting that, and also accepting what I'm into sexually, what sexually arouses me. So I was making these images not necessarily knowing what they were about, but just putting it out there - that mode of thinking or consideration of my own desires, and also the much larger conversation around images that deal with ideas of sexuality and how those images are distributed and then accepted or understood by whoever is viewing those images.
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Los Angeles has interested me for a long time. I was in Texas for five years, for the same reason. I wanted to photograph there.
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The sights I have just seen [at Buchenwald] are so unbelievable that I don't think I'll believe them myself until I've seen the photographs.
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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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When I take photographs, my body inevitably enters a trancelike state. Briskly weaving my way through the avenues, every cell in my body becomes as sensitive as radar, responsive to the life of the streets... If I were to give it words, I would say: "I have no choice... I have to shoot this... I can't leave this place for another's eyes... I have to shoot it... I have no choice." An endless, murmuring refrain.
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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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The viewer is yet another eye that is part of the compact that makes a photograph what it is.
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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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I like to photograph anyone before they know what their best angles are.
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I turned off the projector and Alex mumbled something in her sleep and turned over. I said, "Everything is fine, I'm going home now," and said it just so I could say I'd said it in case she was upset later that I'd left without telling her. I thought about kissing her on the forehead but rejected the idea immediately; whatever physical intimacy had opened up between us had dissolved with the storm; even that relatively avuncular gesture would be strange for both of us now. More than that: it was as though the physical intimacy with Alex, just like the sociability with strangers or the aura around objects, wasn't just over, but retrospectively erased. Because those moments had been enabled by a future that had never arrived, they could not be remembered from this future that, at and as the present, had obtained; they'd faded from the photograph.
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A photograph is a biography of a moment.
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In the blur of the photograph, time leaves its gleaming, snail-like track.
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...the worry over media manipulation of photographs pales beside the threat that we will be exposed to an unedited, unvetted picture world where all images seem equally important and equally trivial.
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A photograph is a photograph. When I am making a picture I am just interested in making a very interesting photograph. I don't care where it's going to go.
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I don't really have any faith in anybody enjoying photographs in a large enough sense to matter. I think it's all about finances, on one side.
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What is a photograph? For me, a fragment of quick-silver, a lucid dream, a scribbled note from the subconscious to be deciphered, perhaps, over years. It is a monologue trying to become a conversation, an offering, an alibi, a salute.
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A window covered with raindrops interests me more than a photograph of a famous person.
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Recording sessions were stimulating to photograph, because everything was in motion: the subject, the musicians, the technicians and the photographer. You needed fast reflexes to keep up with moving targets, and sensitivity and skill to get the pictures while keeping out of the performers' eyeline so as not to break their concentration.
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I always give a print to everybody I photograph, and some of my subjects have told me they have a hard time hanging them up at home.
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I was working with mud and photographs and thread, eyelashes, carrots and acetone... I was throwing radios off buildings and... remember floating styrofoam commas down the Milwaukee River.
