Photographer Quotes - Page 15

• I discovered that this camera was the technical means in photography of communicating what the world looks like in a state of heightened awareness. And it's that awareness of really looking at the everyday world with clear and focused attention that I'm interested in.

  Stephen Shore

  Photography, Mean, Everyday

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• I looked through a lens and ended up abandoning everything else.

  Sebastiao Salgado

  Photography, Lenses

  "Portrait of the artist: Sebastião Salgado, photographer". Interview With Laura Barnett, www.theguardian.com. February 28, 2012.

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• When I was just starting out, I met Cartier-Bresson. He wasn't young in age but, in his mind, he was the youngest person I'd ever met. He told me it was necessary to trust my instincts, be inside my work, and set aside my ego. In the end, my photography turned out very different to his, but I believe we were coming from the same place.

  Sebastiao Salgado

  Photography, Believe, Ego

  "Portrait of the artist: Sebastião Salgado, photographer". Interview With Laura Barnett, www.theguardian.com. February 28, 2012.

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• What I want is the world to remember the problems and the people I photograph. What I want is to create a discussion about what is happening around the world and to provoke some debate with these pictures. Nothing more than this. I don't want people to look at them and appreciate the light and the palate of tones. I want them to look inside and see what the pictures represent, and the kind of people I photograph.

  Sebastiao Salgado

  Photography, Light, People

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• I have been photographing the portrait of an end of an era, as machines and computers replace human workers. What we have in these pictures is an archeology.

  Sebastiao Salgado

  Photography, Portraits, Machines

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• When you work fast, what you put in your pictures is what your brought with yoiu - your own ideas and concepts. When you spend more time on a project, you learn to understand your subjects. There comes a time when it is not you who is taking the pictures. Something special happens between the photographer and the people he is photographing. He realizes that they are giving the pictures to him.

  Sebastiao Salgado

  Photography, Ideas, People

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• Before you shoot an irresistible subject, mute all your senses except sight to find out how much is left for the camera to record.

  Andreas Feininger

  Photography, Sight, Cameras

  Andreas Feininger (1982). “Total photography”, Not Avail

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• Every successful photograph, except for lucky shots, begins with an idea and a plan. The more precisely a photographer knows what it is he wishes to do, the better the chances are that he will do it.

  Andreas Feininger

  Photography, Successful, Ideas

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• Realism and superrealism are what I'm after. This world is full of things the eye doesn't see. The camera can see more, and often 10 times better.

  Andreas Feininger

  Photography, Eye, Cameras

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• With a short lens I can reveal the hidden things near at hand, with a long lens the hidden things far away. The telephoto lens provides a new visual sensation for people: it widens their horizons. And, conversely, the things under our nose invariably look good when blown up really big.

  Andreas Feininger

  Photography, Hands, Long

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• The camera can push the new medium to its limits - and beyond. It is there - in the "beyond" - that the imaginative photographer will compete with the imaginative painter. Painting must return to the natural world from time to time for renewal of the artistic vision. The key sector of renewal of vision today is the new vistas revealed by science. Here photography, which is not only art but science also, stands on the firmest ground.

  Andreas Feininger

  Photography, Art, Keys

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• I got a lot of flak originally for writing with photographs, because the great cliche in photography is that one photograph is worth a thousand words, and photographers are usually dodo birds anyway.

  Duane Michals

  Photography, Writing, Bird

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• Technique isn't important. Technique is in the blood. Events and mood are more important than good light and the happening is what is important

  Andre Kertesz

  Light, Blood, Important

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• Take pictures of what you fear.

  Diane Arbus

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• You scientists are the worst photographers in the world and you need the best photographers in the world and I'm the one to do it.

  Berenice Abbott

  Needs, World, Scientist

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• I'm not a nice girl. I'm a photographer.

  Berenice Abbott

  Girl, Nice, Nice Girl

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• Every time I take a photo, it goes into SnapSeed. Even if it's just a price tag on something, it still goes into SnapSeed, and I start editing it. I'm not a photographer, so I need all the help I can get when it comes to make a picture look cool.

  Hunter Hayes

  Editing, Price Tag, Needs

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• I was coming to realize that the real magician was light itself.

  Edward Steichen

  Photography, Real, Light

  Edward Steichen, Museum of Modern Art (New York, N.Y.) (1963). “A Life in Photography”, Random House Value Pub

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• I am not used to doing naked shoots but when you trust the photographer and the crew, you know it won't be vulgar.

  Gisele Bundchen

  Naked, Used, Crew

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• Anything is an art if you do it at the level of an art.

  Richard Avedon

  Art, Levels, Ifs

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• Today, I count myself blessed to have become a photographer. To be able to articulate the experiences of the voiceless, to bring their identity to the forefront, gives meaning and purpose to my own life.

  G.M.B. Akash

  Blessed, Giving, Identity

  G. M. B. Akash, Reena Abraham (2006). “First Light: The Photography of G.M.B. Akash”

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• The photographer in Blow-Up, who is not a philosopher, wants to see things closer up. But it so happens that, by enlarging too far, the object itself decomposes and disappears. Hence there's a moment in which we grasp reality, but then the moment passes. This was in part the meaning of Blow-Up.

  Michelangelo Antonioni

  Blow, Reality, Want

  "Michelangelo Antonioni : The Complete Films" edited by Seymour Chatman and Paul Duncan, (p. 113), 2004.

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• People have been reading photography as a true document, at the same time they are now getting suspicious. I am basically an honest person, so I let the camera capture whatever it captures whether you believe it or not is up to you; it’s not my responsibility, blame my camera, not me.

  Hiroshi Sugimoto

  Photography, Believe, Reading

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• When people call me a photographer, I always feel like something of a charlatan—at least in Japanese. The word shashin, for photograph, combines the characters sha, meaning to reflect or copy, and shin, meaning truth, hence the photographer seems to entertain grand delusions of portraying truth.

  Hiroshi Sugimoto

  Character, People, Call Me

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• If I already have a vision, my work is almost done. The rest is a technical problem.

  Hiroshi Sugimoto

  Vision, Almost Done, Problem

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