Photograph Quotes
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For me the criterion of a good photograph is that it is unforgettable.
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With a woman I try to photograph her beauty; with a man I try to show his character. Once I photographed a man with a big nose (Jimmy Durante), and emphasized his nose, and he was very pleased with the picture. That could not happen with a woman. The most intelligent woman will reject a portrait if it doesn't flatter her.
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I came across a photograph of him not long ago... his black face, the long snout sniffing at something in the air, his tail straight and pointing, his eyes flashing in some momentary excitement. Looking at a faded photograph taken more than forty years before, even as a grown man, I would admit I still missed him.
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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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I feel totally responsible for what I see. I feel totally responsible for what I photograph.
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A window covered with raindrops interests me more than a photograph of a famous person.
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I would never dream, for example, of going to The States to photograph your wildlife.
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I like to photograph anyone before they know what their best angles are.
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For all the textbook reasons - any individual's reading of a photograph is preceded by the evidential authority of the medium. You have the literalness of a glass on a table - and at the same time of that evidential authority that you can't get around, there is the possibility of universalizing the subject - of getting the whole world into the picture.
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A photograph must come from imagination and not be a reflection of what is.
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Research material can turn up anywhere - in a dusty old letter in an archive, a journal or some old photographs you find in a charity shop.
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My goal is to photograph not a factory but the work itself from the most effective point of view.. ..in order to show the grandness of a machine, one should photograph not all of it but give a series of snapshots.
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As time went by we developed a sort of ideology without ever formulating it as such. I've always said that we are documenting the sacred buildings of Calvinism. Calvinism rejects all forms of art and therefore never developed its own architecture. The buildings we photograph originate directly from this purely economical thinking.
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My caravan was like a café and it [had] nice light because the windows were on both sides. It was a good place to photograph.
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... photography, like all camera-made images such as film and video, effaces the marks of its making (and maker) at the click of a shutter. A photograph appears to be self-generated - as though it had created itself.
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This is life. It is everywhere, and it is here for the taking. I am alive and I know this, now, in a more profound way than when I am doing anything else. These sights are ephemeral, fleeting treasures that have been offered to me and to me alone. No other person in the history of the world, anywhere in all of time and space, has been granted this gift to be here in my place. And I am privileged, through the camera, to take this moment away with me. That is why I photograph.
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A photograph is the illusion of a literal description of how the camera 'saw' a piece of time and space.
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I don't believe so much in the value of a single picture anymore. I don't really photograph for the wall.
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Actors today go into TV, which I don't consider has a lot to do with acting. They only think of stardom. If you photograph well, that's enough. I have a terrible time distinguishing one from another. Girls wear their hair the same, and are much too anorexic-looking.
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What is it that angers us?... We have been tricked. In essence, we have been lied to. The problem is not that the photograph has been manipulated, but that we have been manipulated by the photograph.
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I always loved the idea that a photograph was a memory frozen in time.
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When I look at photographs, I couldn't care less "how."
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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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If the historian will be faithful to the photograph, the photograph will be faithful to history.
