Photograph Quotes - Page 32

• It must be hard to be a model, because you'd want to be like the photograph of you, and you can't ever look that way.

  Andy Warhol

  Reality, Looks, Want

  Andy Warhol (2014). “The Philosophy of Andy Warhol: From A to B and Back Again”, p.76, Houghton Mifflin Harcourt

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• I hated my part in the charade of murder and horror. My efforts were contributing to the deaths, to the burning alive of children - especially the children. The photographs of young Vietnamese children burned by napalm destroyed me.

  Ralph McGehee

  Children, Military, Effort

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• One very important difference between color and monochromatic photography is this: in black and white you suggest; in color you state. Much can be implied by suggestion, but statement demands certainty... absolute certainty.

  Paul Outerbridge

  Photography, Black And White, Color

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• Although prison officials have long battled illegal cellphones, smartphones have changed the game. With Internet access, a prisoner can call up phone directories, maps and photographs for criminal purposes, corrections officials and prison security experts say. Gang violence and drug trafficking, they say, are increasingly being orchestrated online, allowing inmates to keep up criminal behavior even as they serve time.

  Kim Severson

  Phones, Internet Access, Games

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• Of course, if you photograph the behavior of women and men at a particular time in history, in a particular situation, you will capture differences. But the error lies in inferring that a snapshot is a lasting picture. What women and men do at a moment in time tells us nothing about what women and men are in some unvarying sense - or about what they can be.

  Carol Tavris

  Lying, Philosophical, Men

  Carol Tavris (1993). “Mismeasure of Woman: Why Women are Not the Better Sex, the Inferior Sex, or the Opposite Sex”, Touchstone

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• A photograph is neither taken or seized by force. It offers itself up. It is the photo that takes you. One must not take photos.

  Henri Cartier-Bresson

  Photography, Taken, Photographer

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• The intensive use of photographs by mass media lays ever fresh responsibilities upon the photographer. We have to acknowledge the existence of a chasm between the economic needs of our consumer society and the requirements of those who bear witness to this epoch. This affects us all, particularly the younger generations of photographers. We must take greater care than ever not to allow ourselves to be separated from the real world and from humanity.

  Henri Cartier-Bresson

  Photography, Real, Responsibility

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• I suspect it is for one's self-interest that one looks at one's surroundings and one's self. This search is personally born and is indeed my reason and motive for making photographs.

  Lee Friedlander

  Photography, Self, Looks

  Lee Friedlander (1970). “Self Portrait”

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• Seeing is not enough; you have to feel what you photograph

  Andre Kertesz

  Photography, Photographer, Enough

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• For spiritual companions I have had the many artists who have relied on nature to help shape their imagination. And their most elaborate equipment was a deep reverence for the world through which they passed. Photographers share something with these artists. We seek only to see and to describe with our own voices, and, though we are seldom heard as soloists, we cannot photograph the world in any other way.

  Sam Abell

  Photography, Spiritual, Artist

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• If it's a likeness, alone, it's not a success. If, through my portraits, you can come to know the subjects more meaningfully, if it synthesizes your feelings toward someone whose work has imprinted itself on your mind--if you see a photograph and say, 'Yes, this is the person,' with a little new insight--that is a beautiful experience.

  Yousuf Karsh

  Beautiful, Photography, Feelings

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• When I make a photograph I want it to be an altogether new object, complete and self-contained, whose basic condition is order (unlike the world of events and actions whose permanent condition is change and disorder).

  Aaron Siskind

  Photography, Self, Order

  Aaron Siskind, Henry Holmes Smith, Thomas B. Hess (1965). “Aaron Siskind, photographer”

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• A good print is really essential. I want to take strong documentary photographs that are as good technically as any of the best technical photographs, and as creative as any of the best fine-art photographs. [...] I don't want to just be a photo essayist; I'm more interested in single images...ones that I feel are good enough to stand on their own.

  Mary Ellen Mark

  Photography, Art, Strong

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• I think you reveal yourself by what you choose to photograph, but I prefer photographs that tell more about the subject. There's nothing much interesting to tell about me; what's interesting is the person I'm photographing, and that's what I try to show. [...] I think each photographer has a point of view and a way of looking at the world... that has to do with your subject matter and how you choose to present it. What's interesting is letting people tell you about themselves in the picture.

  Mary Ellen Mark

  Photography, Thinking, Views

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• I have a way to photograph. You work with space, you have a camera, you have a frame, and then a fraction of a second. It's very instinctive. What you do is a fraction of a second, it's there and it's not there. But in this fraction of a second comes your past, comes your future, comes your relation with people, comes your ideology, comes your hate, comes your love - all together in this fraction of a second, it materializes there.

  Sebastiao Salgado

  Photography, Hate, Past

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• My true program is summed up in one word: life. I expect to photograph anything suggested by that word which appeals to me.

  Edward Weston

  Photography, Photographer, Program

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• And that desire-the strong desire to take pictures-is important. It borders on a need, based on a habit: the habit of seeing. Whether working or not, photographers are looking, seeing, and thinking about what they see, a habit that is both a pleasure and a problem, for we seldom capture in a single photograph the full expression of what we see and feel. It is the hope that we might express ourselves fully-and the evidence that other photographers have done so-that keep us taking pictures.

  Sam Abell

  Photography, Strong, Thinking

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• I have always thought that if I could turn back the pages of history and photograph one man, my choice would be Moses.

  Margaret Bourke-White

  Photography, Men, Choices

  Margaret Bourke-White (2016). “Portrait of Myself”, p.314, Pickle Partners Publishing

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• There are no photographs while I'm reloading .

  Garry Winogrand

  Photography, Photographer, Reloading

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• The photographs don't arouse me. All I can think about is the hard work it took to make them.

  Helmut Newton

  Photography, Hard Work, Thinking

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• When I have had such men before my camera my whole soul has endeavored to do its duty to them in recording faithfully the greatness of the inner as well as the features of the outer man. The photograph thus taken has almost the embodiment of a prayer.

  Julia Margaret Cameron

  Photography, Prayer, Taken

  Julia Margaret Cameron, Anita Ventura Mozley (1974). “"Mrs. Cameron's Photographs from the Life": Exhibition Held 22 January-10 March 1974, Stanford University Museum of Art”

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• His Holiness [the Dalai Lama] has told me, urgently and repeatedly, that he thinks my photographs are crap. His exact words were, 'These photos are of poor quality. Why is there no sharp focus? There is no clarity!' I said, 'But your Holiness, it's Goyaesque.' And he said, 'No! It's out of focus!'

  Richard Gere

  Photography, Thinking, Poor Quality

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• We pass the billboard and I console myself in two ways. First, I know that most photographs taken are a gamble at best. Second and more important: I remind myself to find the pleasure in this moment, a time in which the red sky passes to black, children create unanticipated rhymes, and the stars fall closer to earth.

  Laura McPhee

  Photography, Stars, Children

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• But I did not always know just what it was I wanted to photograph. I believe it is important for a photographer to discover this, for unless he finds what it is that excites him, what it is that calls forth at once an emotional response, he is unlikely to achieve his best work.

  Bill Brandt

  Photography, Believe, Emotional

  Bill Brandt (1948). “Camera in London”

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• I photographed the entire thing in color because to photograph it in black and white would be to keep it as a tragedy. Because there is a tragic element to photographing, in this case not war, but the collapse. It was just destruction.

  Joel Meyerowitz

  Photography, War, Black And White

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