Photography Quotes
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[Photography is ] likewise even French impressionists. So the Sculls bought pop. It was politics, and they moved with it. And I think that could be happening, to some degree, with photography, too. It doesn't cost as much to do it, either.
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Fidelity is surely our highest aim, but a translation is not made with tracing paper. It is an act of critical interpretation. Let me insist on the obvious: Languages trail immense, individual histories behind them, and no two languages, with all their accretions of tradition and culture, ever dovetail perfectly. They can be linked by translation, as a photograph can link movement and stasis, but it is disingenuous to assume that either translation or photography, or acting for that matter, are representational in any narrow sense of the term. Fidelity is our noble purpose, but it does not have much, if anything, to do with what is called literal meaning. A translation can be faithful to tone and intention, to meaning. It can rarely be faithful to words or syntax, for these are peculiar to specific languages and are not transferable.
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I love looking at famous people. Because of the way they look. Because of the way photography makes them look famous.
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My passion is to open people's eyes to the sea using the power of photography as a universal language to convince the unconvinced among us that the oceans are fragile and finite.
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Photography makes one conscious of beauty everywhere, even in the simplest things, even in what is often considered commonplace or ugly. Yet nothing is really 'ordinary', for every fragment of the world is crowned with wonder and mystery, and a great and surprising beauty.
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Light field photography unleashes the power of the light, to forever change how everyone takes and experiences pictures.
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Reaching a 'creative' state of mind thru positive action is considered preferable to waiting for 'inspiration'.
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When I got to NYU, I immediately inquired about doing a double major in acting and photography.
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Light makes photography. Embrace light.
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I don't just look at the thing itself or at the reality itself; I look around the edges for those little askew moments-kind of like what makes up our lives-those slightly awkward, lovely moments.
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For me, the act of photography is all about discovery and finding new things.
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I opened up Shutterstock to the whole world. I created a contributor community that anyone could give stock photography a shot.
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Mysteries lie all around us, even in the most familiar things, waiting only to be perceived.
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Photography has the capacity to provide images of man and his environment that are both works of art and moments in history.
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Photography as a subject is a good one. Its history is only about 150 years... You only have to know about twenty-five or thirty names and that's it. All you need. In painting there are more than 1,000.
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I loved photography but was frustrated by the limitations of cameras. When trying to take a picture of a friend's young, active daughter using my DSLR, it was impossible to capture the fleeting moments.
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I love photography and first editions. I have that in my genes. My father was an archivist.
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As I progressed further with my project, it became obvious that it was really unimportant where I chose to photograph. The particular place simply provided an excuse to produce work... you can only see what you are ready to see - what mirrors your mind at that particular time.
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Once digital came, I could see my images instantly right there on the camera. I think that makes you a better photographer because you can see right there if your subject's eyes are closed or if you exposed it wrong and if it's too bright or dark. You can fix it right here. With film, you wouldn't know until you got the prints back if something was messed up, and then there was nothing you could do. That was a huge advantage.
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Photography is in some ways false just because it is so exact.
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Museum collections have given photography rigor, and mortis.
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The world of the cinema and of painting are very different; precisely, the possibilities of photography and the cinema reside in that unlimited fantasy which is born of things themselves... a piece of sugar can become on the screen larger than an infinite perspective of gigantic buildings.
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Photography - the new, rapid, concrete reflector of the world - should surely undertake to show the world from all vantage points, and to develop people's capacity to see from all sides.
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When I started using the extreme short depth of field and single point of focus, I was trying to replicate my changing eyesight. We have binocular vision; one eye perceives space from the other. I don't experience a scene visually at F32. It's more like F1.4.
