Photograph Quotes
The best sayings about Photograph that you can share on Instagram, Pinterest, Facebook and other social networks!
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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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It is the photographs that gives one the vivid realization of what actually took place. (On photographs from Abu Ghraib prison.)
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I think with being blind the one thing you would have going is that you could still feel things, see your way around so to speak. And if you had had the experience of seeing at one time in your life, then you would know what it was like and be able to function. I've said this before, I think I could really photograph blind if I had to.
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The camera is an excuse to be someplace you otherwise don't belong. It gives me both a point of connection and a point of separation.
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The photograph... is not a picture of something, but is an object about something.
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Approaching subject matter to photograph is like meeting a person and beginning a conversation. How does one know ahead of time where that will lead, what the subject matter will be, how intimate it will become, how long the potential relationship will last? Certainly, a sense of curiosity and a willingness to be patient to allow the subject matter to reveal itself are important elements in this process.
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How our old friend [Michelangelo] of the Sistine would have loved to photograph his workers, perched on the fragile planks. Dali was right to say Leonardo only worked from photographs.
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There is a stage you reach, Deagle thinks, a time somewhere in early middle age, when your past ceases to be about yourself. Your connection to your former life is like a dream or delirium, and that person who you once were is merely a fond acquaintance, or a beloved character from a storybook. This is how memory becomes nostalgia. They are two very different things - the same way that a person is different from a photograph of a person.
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I was working with mud and photographs and thread, eyelashes, carrots and acetone... I was throwing radios off buildings and... remember floating styrofoam commas down the Milwaukee River.
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I tell you (dogmatically, if you like to call it so, knowing it well) a square inch of man's engraving is worth all the photographs that were ever dipped in acid... Believe me, photography can do against line engraving just what Madame Tussaud's wax-work can do against sculpture. That and no more. (1865)
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...throughout the history of art it has been art itself - in all its forms - that has inspired art...today's photographs are so geared to life that one can learn more from them than from life itself.
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This then: to photograph a rock, have it look like a rock, but be more than a rock.
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In the end, maybe the correct language would be how the fact of putting four edges around a collection of information or facts transforms it. A photograph is not what was photographed, it's something else.
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Having a boy play a girl (and when I say 'play a girl' I don't mean that he is represented as a girl, because he is represented as a young man) is complicated. He knows he's looking at photographs of a girl and copying those poses. So the audience sees him as a man, but he can only see himself as a woman, because that's the model he's looking at. It was a really interesting exchange.
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I like to feel that all my best photographs had strong personal visions and that a photograph that doesn't have a personal vision or doesn't communicate emotion fails.
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In a world where the 2 billionth photograph has been uploaded to Flickr, which looks like an Eggleston picture! How do you deal with making photographs with the tens of thousands of photographs being uploaded to Facebook every second, how do you manage that? How do you contribute to that? What's the point?
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Grey. It makes no statement whatever; it evokes neither feelings nor associations: it is really neither visible nor invisible. Its inconspicuousness gives it the capacity to mediate, to make visible, in a positively illusionistic way, like a photograph. It has the capacity that no other colour has, to make 'nothing' visible.
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In making portraits, I refuse to photograph myself as do so many photographers. My style is the style of the people I photograph.
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Pick a theme and work it to exhaustion... the subject must be something you truly love or truly hate.
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[Cameras] tend to turn people into things and the photograph extends and multiplies the human image to the proportions of mass-produced merchandise and, [in the age of photography] the world itself becomes a sort of museum of objects that have been encountered before in some other museum and to say that the camera cannot lie is merely to underline the multiple deceits that are now practiced in its name.
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When you look at pornography, the women become objects, whereas what I'm trying to do is make the person in the photograph as important as their body. And obviously, I like tits and arse, because I just do. I like the sex of taking photographs.
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If you don't have anything to say, your photographs aren't going to say much.
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Research material can turn up anywhere - in a dusty old letter in an archive, a journal or some old photographs you find in a charity shop.
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I don't photograph anyone if I can't meet with them first because if I don't do that, then they're just going to the dentist and they're filled with fear. They don't know who I am.
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Of course, the camera is a far more objective and trustworthy witness than a human being. We know that a Brueghel or Goya or James Ensor can have visions or hallucinations, but it is generally admitted that a camera can photograph only what is actually there, standing in the real world before its lens.
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I like to capture moments. It's like a photograph. Ten years from now you look at the photograph and you don't remember it but rather the whole week or month around the photo.
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Photographs objectify: they turn an event or a person into something that can be possessed.
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We all share beauty. It strikes us indiscriminately. There is no end to the beauty for the person who is aware. Even the cracks between the sidewalk contain geometric patterns of amazing beauty. If we take pictures of them and blow up the photographs, we realize we walk on beauty every day, even when things seem ugly around us.
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Photography is about being patient. I'm quiet, I watch the situation. I let things happen and photograph them when they happen; that's my approach, although trying to anticipate events at a party with lots of people is hard.
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Photographs bear witness to a human choice being exercised in a given situation. A photograph is a result of the photographer's decision that it is worth recording that this particular event or this particular object has been seen. If everything that existed were continually being photographed, every photograph would become meaningless.
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