Photograph Quotes
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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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When you can't think of anything else, photograph graffiti, nudes, or plants.
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This is the gift of the landscape photograph, that the heart finds a place to stand.
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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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I feel totally responsible for what I see. I feel totally responsible for what I photograph.
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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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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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I don't photograph for other people. I love an audience, mind you. Once I've got them there, then I love an audience. Not a big audience, though. I'd rather please ten people I respect than ten million I don't. But I don't play to an audience, I do it for myself.
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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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The trouble with flowers is that invariably, when I'm ready to photograph them, they are not in season.
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The thing itself photographed becomes less interesting when you go back to it years later but I think the photograph becomes more important later when the reality has passed.
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I wanted to make photographs that were immediate and revealing - different from traditional portraiture that called for formal distance between artist and subject.
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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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My point is that meaning is always personal, changeable and subjective. There is no 'correct' interpretation of a 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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I would never dream, for example, of going to The States to photograph your wildlife.
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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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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 no photographs while I'm reloading .
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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 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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A photograph must come from imagination and not be a reflection of what is.
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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 true photograph need not be explained, nor can it be contained in words.
