Photograph Quotes - Page 25

• In the same way, photography, for me, has fragmented. You do have people doing bodies of work - often with found photographs - that are quite hard to understand unless you got a very sophisticated visual history behind you. But there are different camps.

  Stuart Franklin

  Photography, People, Different

  Source: www.guernicamag.com

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• Good photographs aren't just complex. They are enigmatic. Images are beguiling. And the way they play into our psychology, into our visual cortex, is something we still don't understand.

  Stuart Franklin

  Psychology, Enigmatic

  Source: www.guernicamag.com

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• We don't understand what photography is doing. We don't understand the power of its rhetoric. We don't understand why the Provoke photographers showed Tokyo city as a ghastly and alien city when it was really going through this period of mega-capitalist growth. It's a very, very, very powerful force, the photograph. People ask me why it has such an ability to captivate us. And I just don't know.

  Stuart Franklin

  Photography, Powerful, People

  Source: www.guernicamag.com

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• We sort of understand how painkillers work. You take one, and it reduces your headache. We don't understand how photographs work. And that, to me, is an essential problem as a practitioner.

  Stuart Franklin

  Problem, Headache

  Source: www.guernicamag.com

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• Saudi Arabia is so conservative. At first there were photographs of women I took that I couldn't publish - of women without their abayas. So I started writing out little anecdotes about things I couldn't photograph and wove it in with a more obscure picture and called it "moments that got away". I realised these worked as well as the photographs by themselves. There are a lot of photographers who feel the story is all in the photographs but I really believe in weaving in complementary words with the pictures.

  Olivia Arthur

  Believe, Writing, Conservative

  Source: www.harpersbazaar.com

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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.

  Olivia Arthur

  Photography, Party, People

  Source: www.harpersbazaar.com

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• The nice thing about a documentary, I think, is that so much of it is editing, too. You sort of get to keep making decisions. It's not as much like when you do a narrative, fictional piece, and you have a certain number of shooting days, and you're like, "Well, that's what it is." You can continue to seek out more photographs or try to find more footage. The genre gives you the ability to keep working on it, which is great for a first-time director.

  Gillian Jacobs

  Nice, Thinking, Giving

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• I have never been skinny. The thing is, I was in an industry where being athletic was not celebrated. I have friends who are supermodels, and I never had that body. I've never been asked to walk in a Versace show. I was doing the covers of the magazines while they were cruising the clothes down the runway, and then they'd bring me the clothes and I'd have to photograph them.

  Brooke Shields

  Athletic, Versace, Supermodel

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• Press information is serious information, but press information is also manipulated by people who want you to think that this and that happened. So it's the old thing that you still cannot trust photography at all or you have to know who is distributing the photograph. In terms of cell phone photography, I think nobody cares about a photograph anymore because they're taking so many pictures just for fun.

  Thomas Ruff

  Photography, Fun, Thinking

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• If you look at photographers who say, "I hate digital photography," they all use Photoshop, even if it's to make the sky just a little more blue than it was. Manipulation is very discrete and because it's so discrete nobody cares about it anymore. People accept manipulated photographs, I think.

  Thomas Ruff

  Photography, Hate, Thinking

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• I am fascinated by how images and motifs move between and adjust to different cultures. I'm a Norwegian living in Los Angeles showing a photograph inspired by Japanese image culture in an American beach town named after a sinking city in Italy.

  Torbjørn Rødland

  Beach, Moving, Different

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• I've found that photographs from different genres can be extraordinarily generous with each other. I started out photographing myself in a landscape, moved on to landscapes with and without other people, and then onto buildings, still lives, portraits, and body parts in rooms. If certain aspects of my production are getting more attention right now I think it is directly linked to a general absence of dreamed bodies in contemporary art. Viewers who mainly follow fashion have most likely not noticed this lack.

  Torbjørn Rødland

  Fashion, Art, Thinking

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• Making photographs can be a way for me to bring something up and into consciousness, something either shared or individual.

  Torbjørn Rødland

  Consciousness, Individual

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• I'd like the photographs to potentially be meaningful to a wide range of people. They do not grow out of the reportage mode, this was always clear to me. Personal imaginations blend into each other and create our visual cultures. No one is a neutral observer of this field.

  Torbjørn Rødland

  Meaningful, People, Imagination

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• Initially I borrowed the word “perverse” from Roland Barthes, meaning pleasure-driven and not geared to inform or promote a service or a product. An unproductive photograph designed to keep you in the process of looking is of course something larger than an expression of aberrant sexuality.

  Torbjørn Rødland

  Sexuality

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• I like to put a single photograph in different contexts, to see how it takes on other meanings, how being locked in a new dialogue exposes another potential. It's like dating other people in order to get to know yourself.

  Torbjørn Rødland

  People, Dating, Different

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• My dad had been an ardent amateur photographer, and he taught me to compose a photograph from the back to the front, and then populate the picture.

  Sam Abell

  Dad, Taught, Photographer

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• I think of myself as a writer who photographs. Images, for me, can be considered poems, short stories or essays. And I've always thought the best place for my photographs was inside books of my own creation.

  Sam Abell

  Book, Thinking, Stories

  "A Life in Photos: Q&A with Sam Abell". Interview with Jenny Wells, uknow.uky.edu. July 20, 2012.

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• 'Woman on the Plaza,' with its distinct horizon, snow-like surfaces, wintry wall, stunning sunlight, sharp shadows, and hurrying figure, would become the most biographical of my photographs - an abstract image of the landscape and life of northern Ohio where I grew up and first practiced photography.

  Sam Abell

  Photography, Wall, Ohio

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• When I'm ready to make a photograph, I think I quite obviously see in my minds eye something that is not literally there in the true meaning of the word. I'm interested in something which is built up from within, rather than just extracted from without.

  Ansel Adams

  Photography, Eye, Thinking

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• I have photographs taken of me at the time I was addicted, and thought I looked good. I see them today and realize my eyes were dead.

  Kirstie Alley

  Taken, Eye, Today

  "Biography/ Personal Quotes". www.imdb.com.

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• You have to kind of be invisible when you photograph children, so you use a longer lens.

  David Bailey

  Children, Lenses, Use

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• Actors are hard to photograph because they never want to reveal who they are. You don't know if you're getting a character from a Chekhov play or a Polanski film. It depends what mood they're in.

  David Bailey

  Character, Play, Actors

  "This Much I Know: David Bailey" by Alice Fisher, www.theguardian.com. February 20, 2010.

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• I don't see the point of photographing trees or rocks because they're there and anyone can photograph them if they're prepared to hang around and wait for the light.

  David Bailey

  Light, Rocks, Tree

  "Di wasn't a great beauty". Interview with Lynn Barber, www.theguardian.com. November 20, 2005.

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• A review of summit day photographs will show that I was clothed in the latest, highest quality, high altitude gear, comparable, if not better, than that worn by the other members of our expedition.

  Anatoli Boukreev

  Travel, Quality, Gears

  Anatoli Boukreev, G. Weston DeWalt (2015). “The Climb: Tragic Ambitions on Everest”, p.260, St. Martin's Griffin

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