Photographs Quotes
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You can't understand how strange it was to be a sculptor who exhibited photographs. (On exhibitions of his earthworks and land art pieces.)
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It would be very curious to record by means of photographs, not the stage of the picture, but its metamorphoses. Perhaps one would perceive the path taken by the mind in order to put its dreams into a concrete form. But what is really very curious is to observe that fundamentally the picture does not change, that despite appearances the initial vision remains almost intact.
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One has the impression that something is stirring inside [photographs] - it is as if one can hear little cries of despair, gémissements de désespoir... as if the photographs themselves had a memory and were remembering us and how we, the surviving, and those who preceded us, once were.
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There were no photographs, no detailed inventory, and no detail on the destruction of these arms. To describe today's statement as transparent would be the falsehood of the century,
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It's great to get insight into the era of 80's rock-n-roll via a treasure trove of photographs skillfully captured in front of Mark Weiss' camera lens. This event is the perfect time capsule for Mark's work finally being released upon the masses in 2012.
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[The photographs] were there simply to indicate a radical art that had already vanished. The photograph was necessary only as a residue for communication.
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Photographs are detonators. They explode in us. We are the gaze as well as the gazed-at. The observer and the observed.
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A life, remembered, is a series of photographs and disconnected short films.
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I do not care about my own appearance, but I would hope that people could see into my soul, and that is presented better in these photographs than in others. (On his self-portraits).
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I've had photographs taken for portraits because I very much prefer working from the photographs than from models... I couldn't attempt to do a portrait from photographs of somebody I didn't know.
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I gave up my struggle with perfection a long time ago. That is a concept I don't find very interesting anymore. Everyone just wants to look good in the photographs. I think that is where some of the pressure comes from. Be happy. Be yourself, the day is about a lot more.
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There are many photographs which are full of life but which are confusing and difficult to remember. It is the force of an image which matters.
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I am not an artist, and I never intended to be one. I hope I have made some good photographs, but what I really hope is that I have done some good photo stories with memorable images that make a point, and, perhaps, even make a difference.
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The only objective truth that photographs offer is the assertion that somebody or something... was somewhere and took a picture.
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Me and my Photographs are a bit romantic. I do not take photographs in a normal light. Either at sunrise, or sundown, or early in the morning. Besides I want to explain something in every frame. Every image has to have a message.
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Photographs offer more than decisive moments. They are not alone, they add and subtract and change with time. They are metaphors for our lives... Even a static photograph can change in the blink of a day or decade.
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You should make photographs with your heart, mind, eye & soul. The capture device is simply there to allow you to transfer your vision to a medium that you can share with others.
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No more Internet. No more social media, no more scrolling through litanies of dreams and nervous hopes and photographs of lunches, cries for help and expressions of contentment and relationship-status updates with heart icons whole or broken, plans to meet up later, pleas, complaints, desires, pictures of babies dressed as bears or peppers for Halloween. No more reading and commenting on the lives of others, and in so doing, feeling slightly less alone in the room. No more avatars.
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The fundamental belief in the authenticity of photographs explains why photographs of people no longer living and of vanished architecture are so melancholy.
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The remarkable photographs by Craig Varjabedian are not only beautiful but also extremely valuable documents of architecture, culture, and lifestyle . . .
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I had the time of my life playing Rose in Wes Craven's 'The Girl in the Photographs.' I became so close with the cast and crew, it was hard to leave after we wrapped.
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I go out to take a walk, I see something, I take a picture. I take photographs. I have avoided profound explanations of what I do.
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Pleasures are like photographs: in the presence of the person we love, we take only negatives, which we develop later, at home, when we have at our disposal once more our inner dark room, the door of which it is strictly forbidden to open while others are present.
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I don't use photographs because photographs don't give me the kind of information I need.
