Photograph Quotes
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It's always more comforting to know that in any given corner of any room or any location you're on, you can make a photograph that you'll appreciate.
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The trouble with flowers is that invariably, when I'm ready to photograph them, they are not in season.
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When you approach something to photograph it, first be still with yourself until the object of your attention affirms your presence. Then don't leave until you have captured its essence.
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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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I often had to pass over photographs because in a mass of animals invariably one would be wandering in the wrong direction, thereby disrupting the pattern I was trying to achieve. Today the ability to digitally alter this disruption is at hand.
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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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One does not photograph something simply for 'what it is', but 'for what else it is.
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People don't believe they've experienced the event unless they've taken a photograph.
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If you open up a magazine and there's a photograph of you with a giant red circle around your thigh, like, look at this cellulite, any person - I don't care what you do - would be mortified. It's no wonder people get crazy about it.
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The photograph is not only a pictorial report; it is also a psychological report. It represents the feelings and point of view of the intelligence behind the camera.
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I began photographing around 14; my mother gave me a camera, it's actually the one I still use for creating most of my work. My career has evolved from literally figuring out how to formally structure a photograph, to going through graduate school and trying to formally structure my thoughts. A sort of gradual learning, then unlearning.
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The photograph, after all, is just a photograph. Words will determine its meaning and status.
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There are moments that you suffer a lot, moments you won't photograph. There are some people you like better than others. But you give, you receive, you cherish, you are there. When you are really there, you know when you see the picture later what you are seeing.
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When we were kids, growing up in the sixties, the only images we had of ourselves were either still photographs or 8mm movies.... Now we have video, digital cameras, MP3s, and a million other ways to document ourselves. But the still photograph continues to hold a sense of mystery and awe to me.
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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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My urge to photograph is activated by an almost biological instinct for preservation from disorder. The camera is a mechanical apparatus that extends my natural ability and desire for meaningful organization. I need it to survive.
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There is nothing, under present conditions, that can be more easily and exactly reproduced than a technically good black-and-white photograph, and it is utter rot to burden those interested in them with irrelevant biographical trivia and pet longwinded theory.
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This is the gift of the landscape photograph, that the heart finds a place to stand.
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The picture is not made by the photographer, the picture is more good or less good in function of the relationship that you have with the people you photograph.
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There are no photographs while I'm reloading .
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I don't consider my photographs fashion photographs. The photographs were for fashion, but at the same time they had an ulterior motive, something more to do with the world in general.
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It doesn’t matter if you use a box camera or a Leica, the important thing is what motivates you when you are photographing. What I have tried to do is involve the people I was photographing. To have them realize without saying so, that it was up to them to give me whatever they wanted to give me . . . if they were willing to give, I was willing to photograph.
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Literally, no man ever sees himself as others see him. No photograph or reflection ever gives us the same slant on ourselves that others see. It has often been proved on the witness stand that no two people ever see the same accident precisely the same way. We see through different eyes and from different angles. But if we could see things as other people see them, we could come closer to knowing why they do what they do and why they say what they say.
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The spiritual aspect of my work has more to do with the sense that things in the world can be perceived and accepted as being in some respect alive. I try to approach everything that I photograph with this sense of wide-eyed awe.
