Photograph Quotes - Page 34

• ...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.

  Van Deren Coke

  Photography, Art, Today

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• I don't know whether we think in moving images or whether we think in still images. I have a suspicion that on our hard drive, our series within our brains, [exist] still photographs of very important moments in our lives. ... That we think in terms of still images and that what the photography is doing is making direct contact with the human hard drive and recording for all time a sense of what happened.

  Jon Snow

  Photography, Moving, Thinking

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• Photographs objectify: they turn an event or a person into something that can be possessed.

  Susan Sontag

  Photography, Events, Turns

  Susan Sontag (2013). “Regarding the Pain of Others”, p.81, Macmillan

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• In contrast to the written account-which, depending on its complexity of thought, reference, and vocabulary, is pitched at a larger or smaller readership-a photograph has only one language and is destined potentially for all.

  Susan Sontag

  Photography, Vocabulary, Language

  Susan Sontag (2013). “Regarding the Pain of Others”, p.20, Macmillan

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• The realists do not take the photograph for a 'copy' of reality, but for an emanation of past reality, a magic, not an art.

  Roland Barthes

  Photography, Art, Past

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• The Photograph belongs to that class of laminated objects whose two leaves cannot be separated without destroying them both: the windowpane and the landscape, and why not: Good and Evil, desire and its object: dualities we can conceive but not perceive... Whatever it grants to vision and whatever its manner, a photograph is always invisible: it is not it that we see.

  Roland Barthes

  Photography, Class, Two

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• Photographs trade simultaneously on the prestige of art and the magic of the real.

  Susan Sontag

  Photography, Art, Real

  Susan Sontag (2011). “On Photography”, p.63, Macmillan

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• To the vast majority of people a photograph is an image of something within their direct experience: a more-or-less factual reality. It is difficult for them to realize that the photograph can be the source of experience, as well as the reflection of spiritual awareness of the world and of self.

  Ansel Adams

  Photography, Spiritual, Reflection

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• It is not enough to photograph the obviously picturesque.

  Dorothea Lange

  Life, Photography, Enough

  Anne Whiston Spirn, Dorothea Lange (2009). “Daring to Look: Dorothea Lange's Photographs and Reports from the Field”, University Of Chicago Press

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• A documentary photograph is not a factual photograph.

  Dorothea Lange

  Life, Photography, Documentaries

  Dorothea Lange, Robert Coles (1982). “Photographs of a Lifetime”

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• For me, the creation of a photograph is experienced as a heightened emotional response, most akin to poetry and music, each image the culmination of a compelling impulse I cannot deny. Whether working with a human figure or a still life, I am deeply aware of my spiritual connection with it. In my life, as in my work, I am motivated by a great yearning for balance and harmony beyond the realm of human experience, reaching for the essence of oneness with the Universe.

  Ruth Bernhard

  Spiritual, Photography, Emotional

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• I feel all things as dynamic events, being, changing, and interacting with each other in space and time even as I photograph them.

  Wynn Bullock

  Photography, Art, Creativity

  Wynn Bullock, Barbara Bullock-Wilson (1984). “Wynn Bullock, photographing the nude: the beginnings of a quest for meaning”, Gibbs Smith

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• In a photograph, if I am able to evoke not alone a feeling of the reality of the surface physical world but also a feeling of the reality of existence that lies mysteriously and invisibly beneath its surface, I feel I have succeeded. At their best, photographs as symbols not only serve to help illuminate some of the darkness of the unknown, they also serve to lessen the fears that too often accompany the journeys from the known to the unknown.

  Wynn Bullock

  Photography, Lying, Journey

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• Among the most compelling truths in some of the early photographs is their implication of silence.

  Robert Adams

  Photography, Silence, Compelling

  Robert Adams (1994). “Why People Photograph: Selected Essays and Reviews”

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• A photograph is not an accident - is a concept. It exists at, or before, the moment of exposure of the negative.

  Ansel Adams

  Photography, Negative, Moments

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• The photograph is not only a pictorial report; it is also a psychological report. It represents the feelings and point of view of the intelligence behind the camera.

  Alexey Brodovitch

  Photography, Views, Feelings

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• Photographers should make three or four prints from one negative and then crop them differently. When I was art director at Harper's Bazaar and at several agencies as a consultant, young photographers would bring me their portfolios and all the prints would be in the same standard proportions, either for the Leica or the Rolleiflex. Many times, by limiting themselves in this way, they missed the true potentialities of their photographs.

  Alexey Brodovitch

  Photography, Art, Agency

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• It is the unexpected and the surprise quality of a personal vision, rather than the emotion, which make people respond to a photograph.

  Alexey Brodovitch

  Photography, People, Vision

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• The departure of our boys to foreign parts with the ever-present possibility that they might never return, taught the real value of photography to every father and mother. To many a mother the photograph of her boy in his country's uniform was the one never-failing consolation.

  Louis Fabian Bachrach, Jr.

  Photography, Mother, Country

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• If all your life means to you is water running over rocks, then photograph it, but I want to create something that would not have existed without me.

  Minor White

  Photography, Running, Mean

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• We do not make photographs with our cameras. We make them with our minds, with our hearts, with our ideas.

  Arnold Newman

  Photography, Heart, Ideas

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• The act of making a photograph is less a question of what is being looked at than how.

  Margaret Atwood

  Photography

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• There are numerous daytime and night time photographs and videotapes of clearly non-human spacecraft from all over the world; these films and videotapes have been evaluated and deemed authentic by competent experts in optical physics and related fields.

  Steven M. Greer

  Night, Experts, World

  Steven M. Greer (1999). “Extraterrestrial Contact: The Evidence and Implications”, Crossing Point Incorporated

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• Among the hundreds of so-called "UFO reports" each year, a sizable fraction of those clearly observed by reputable witnesses remain unexplained-and difficult to explain in conventional terms. There is a modicum of physical evidence, radar cases, residual effects, and some films-and photographs in support of the unexplained cases. Collectively, these cases constitute a genuine scientific mystery, badly in need of well-supported, systematic investigation.

  Richard Hall

  Years, Support, Needs

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• I wanted my photographs to be as powerful as the last thing a person sees or remembers before death.

  Joel-Peter Witkin

  Powerful, Before Death, Lasts

  Germano Celant, Joel-Peter Witkin (1995). “Witkin”, Distributed Art Pub Incorporated

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