Photograph Quotes - Page 21

• A very big part of the life of a photograph is the afterlife.

  Sam Abell

  Afterlife, Bigs

  Source: dougplummer.blogs.com

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• I was a consultant for Kodak back in the late 80's. There were engineers there who told me that in the future, most photographs would be taken on telephones. They weren't able to do anything with that. They were engineers, not management.

  Sam Abell

  Taken, Would Be, Able

  Source: aphotoeditor.com

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• [In the late 80's] that's the first time I heard about that astonishing idea [that most photographs would be taken on telephones]. And now I've been watching the tsunami of images.

  Sam Abell

  Taken, Ideas, Would Be

  Source: aphotoeditor.com

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• The class that I teach is called "The Life of a Photograph." It takes up the question, of the billion photographs that were taken today, how many will have a life, and why? So the new reality has made the question more pertinent, not less pertinent.

  Sam Abell

  Taken, Reality, Class

  Source: aphotoeditor.com

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• Yes, there are billions more photographers, and billions more photographs every day, but who's building up a point of view? Who's photographing with intention, and whose body of work will sustain itself and survive?

  Sam Abell

  Views, Building Up, Body

  Source: aphotoeditor.com

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• That's who comes to my workshops. I jokingly tell my students that the class could be called "Your photographs: Better."

  Sam Abell

  Class, Students, Workshops

  Source: aphotoeditor.com

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• There are things that I teach, about building photographs, and that's why people come to my workshops. When people come to the workshops, they're consumed with seeking the subject, and I teach seeking the setting.

  Sam Abell

  People, Building, Teach

  Source: aphotoeditor.com

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• Richard Prince's most famous photograph was made by me.

  Sam Abell

  Made

  Source: aphotoeditor.com

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• I will just say, appropriation is an intellectual idea until it happens to you. It's a philosophy, and it's got its own intellectual framework. Then there's what happens when it's your photograph. Then it's personal, and that's all I'll say.

  Sam Abell

  Philosophy, Ideas, Intellectual

  Source: aphotoeditor.com

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• The notion that Playboy exploited women, because we showed them in beautiful photographs, sexually oriented, strikes me as rather bizarre.

  Hugh Hefner

  Beautiful, Bizarre, Strikes

  Source: www.mtv.com

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• Of course, all my work is photographed and I also take quite a lot of photographs of work in production.

  Patricia Piccinini

  Courses, Productions

  The Condition report Interview, www.patriciapiccinini.net. 2014.

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• With the death of Robert Mapplethorpe, I had lost my main collaborator in taking photographs. So I didn't know who to work with.

  Patti Smith

  Lost, Collaborators, Knows

  Source: www.pbs.org

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• I wasn't familiar with Patti [Smith ]much at all. When I was asked to photograph her, my wife said, "Oh my God, Patti Smith!" So I looked at some Robert Mapplethorpe books and I recognized those pictures.

  Steven Sebring

  Book, Wife, Said

  Source: www.pbs.org

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• I didn't do well in high school, but I took photography, and I loved being able to capture moments. It led to more and more photography, and fashion was the angle into photography for me. It was incredible to see photographs by Irving Penn or Helmut Newton. I was really intrigued by that, and that's what led me to New York City.

  Steven Sebring

  Photography, Fashion, New York

  Source: www.pbs.org

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• Fashion has also been a great outlet, and I'd like to do more fashion photography in the future. I also photograph a lot of artists.

  Steven Sebring

  Photography, Fashion, Artist

  Source: www.pbs.org

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• Every day someone notices me and waves to me, or stops and speaks to me, or asks me for an autograph, or photographs me.

  Quentin Crisp

  Speak, Wave, Notice Me

  Source: www.avclub.com

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• I remember when I was in the prisoner camp, I was a French prisoner. And I saw the first photograph from the concentration camps, and we discussed it with other prisoners. And our feeling was we did not only lose the war, we lost also our honor.

  Manfred Rommel

  War, Feelings, Honor

  Source: archives.nbclearn.com

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• Visual renditions of war not only establish what can be seen, and the audio-track established what can be heard, but the photographs also "train" us in ways of focusing on targets, ways of regarding suffering and loss.

  Judith Butler

  War, Loss, Track

  Interview with Cihan Aksan and Jon Bailes, www.counterpunch.org. October 11, 2013.

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• Photographs can be forms of recruitment, ways of bringing the viewer into the military, as it were. In this way, they prepare us for war, even enlist us in war, at the level of the senses, establishing a sensate regime of war.

  Judith Butler

  Military, War, Levels

  Interview with Cihan Aksan and Jon Bailes, www.counterpunch.org. October 11, 2013.

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• In the age of the camera phone it's a bit weird when you're sitting having dinner in a restaurant and people think they're being very subtle taking a photo while in fact they're being very obvious. When you're in a middle of a mouthful with friends or family and people come up asking for a photograph, that's when you want to say, 'Actually, I'm going to say no; I'd like to finish my meal. This is my time.'

  Hugh Bonneville

  Thinking, Phones, People

  Source: www.flavourmag.co.uk

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• The modern artist is living in a mechanical age and we have a mechanical means of representing objects in nature such as the camera and photograph. The modern artist, it seems to me, is working and expressing an inner world - in other words - expressing the energy, the motion, and other inner forces.

  Jackson Pollock

  Mean, Artist, Age

  Elizabeth Frank, Jackson Pollock (1983). “Jackson Pollock”, Abbeville Pr

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• I think that one of the visions that is closest to reality is the cardboard city in the subway station in Tokyo, which is based very closely on a series of documentary photographs of people living like that and of the contents of the boxes. Those are quite haunting because Tokyo homeless people reiterate the whole nature of living in Tokyo in these cardboard boxes, they're only slightly smaller than Tokyo apartments, and they have almost as many consumer goods. It's a nightmare of boxes within boxes.

  William Gibson

  Reality, Thinking, Cities

  Source: craphound.com

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• Different assignments, different places, require different approaches. Sometimes I take minutes in a location, at other times days. There are many places that I have returned to over several years. When I photograph, I look for some sort of resonance, connection, spark of recognition.

  Michael Kenna

  Years, Connections, Different

  Source: www.smh.com.au

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• I try not to make conscious decisions about what I am looking for. I don't make elaborate preparations before I go to a location. Essentially I walk, explore, discover and photograph.

  Michael Kenna

  Decision, Preparation, Trying

  Source: www.smh.com.au

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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.

  Michael Kenna

  Long, Curiosity, Important

  Source: www.smh.com.au

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