Photograph Quotes
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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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My point is that meaning is always personal, changeable and subjective. There is no 'correct' interpretation of 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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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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I always think photographs abominable, and I don't like to have them around, particularly not those of persons I know and love. Those photographic portraits wither much sooner than we ourselves do, whereas the painted portrait is a thing which is felt, done with love.
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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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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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A photograph is a picture and no more true or false than any other depiction; why is that so hard to comprehend?
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There are no photographs while I'm reloading .
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A Daring Life: A Biography of Eudora Welty is a beautifully written portrait of Eudora Welty and her amazing life. Carolyn J. Brown carries the reader through Welty's long, productive writing career and introduces her family and friends along the way. The book's very readable text, its lovely use of Welty quotes, and its excellent photographs make the work a treasure. This intimate look at Eudora Welty is a welcome addition for her readers.
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This is the gift of the landscape photograph, that the heart finds a place to stand.
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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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The photograph is an incomplete utterance, a message that depends on some external matrix of conditions and presuppositions for its readability.
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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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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 can't think of anything else, photograph graffiti, nudes, or plants.
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I always loved the idea that a photograph was a memory frozen in time.
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As actors, we need public relations to campaign for our next possible role, and any media promoting our work seems positive in nature; but whether in theater or on a film set, a bad unprofessional photograph at the wrong angle may not be as flattering to some actors, and may be considered a harmful exposure.
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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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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.
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The photograph keeps open the instants which the onrush of time closes up forthwith; it destroys the overtaking, the overlapping, the metamorphosis of time.
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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.
