Photographs Quotes
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There were times when I asked myself whether I was being principled or simply a coward.... I was wrapped in the cocoon of tennis early in life, mainly by blacks like my most powerful mentor, Dr. Robert Walter Johnson of Lynchburg, Virginia. They insisted that I be unfailingly polite on the court, unfalteringly calm and detached, so that whites could never accuse me of meanness. I learned well. I look at photographs of the skinny, frail, little black boy that I was in the early 1950s, and I see that I was my tennis racquet and my tennis racquet was me. It was my rod and my staff.
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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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... nature photographs downright bore me for some reason or other. I think: 'Oh, yes. Look at that sand dune. What of it?'
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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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In this first testing ground of the atomic bomb I have seen the most terrible and frightening desolation in four years of war. It makes a blitzed Pacific island seem like an Eden. The damage is far greater than photographs can show.
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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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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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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 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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All my photographs are about meetings and about coups de foudre - love at first sight. To do that type of photography, one must wipe the canvas clean to prepare for chance encounters, be open and aware to such moments, otherwise it becomes a cliché - already seen and expected.
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I never claim my photographs reveal some definitive truth. I claim that this is what I saw and felt about the subject at the time the pictures were made. That's all that any photographer can claim. I do not know any great photographer who would presume otherwise.
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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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A life, remembered, is a series of photographs and disconnected short films.
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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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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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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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The first time I visited the famed Tavistock Clinic in London I noticed a collection of black-and-white photographs of these great twentieth-century psychiatrists hanging on the wall going up the main staircase: John Bowlby, Wilfred Bion, Harry Guntrip, Ronald Fairbairn, and Donald Winnicott. Each of them, in his own way, had explored how our early experiences become prototypes for all our later connections with others, and how our most intimate sense of self is created in our minute-to-minute exchanges with our caregivers.
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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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Photographs are believed more than words; thus they can be used persuasively to show people who have never taken the trouble to look what is there.
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It (taking photographs) is all about longing without longing-no pictures at all.
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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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The narrow hallway was lined with framed photographs while the far end was dominated by a faux movie poster for Gone with the Wind starring Ronald Reagan sweeping Margaret Thatcher off her feet while a mushroom cloud bloomed behind them. She promised to follow him to the end of the world. He promised to organise it.
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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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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.
