The thing is that when you don't carry a camera, that's when you see pictures in particular, or at least that's when you think you see pictures in particular. When you do carry it, if you do see one on the occasion that you do, you can take it.
When I was young, I did actually model and was much photographed by famous photographers. But I was always a bookworm.
I like things that have to do with what is real, elegant, well presented and without excessive style. In other words, just fine observation.
I'm a writer and a photographer - I'm totally aware that doesn't always translate to TV.
I don't know why my pictures come out looking so good. I just don't get it.
I can work with shyness, but for the most part I want people to feel comfortable with me. It's really more about the photographer feeing comfortable right when they walk in that makes the subject feel comfortable.
People, photographers, people in the press can sometimes be inappropriate.
Almost inevitably there are tensions in the picture, tensions between the outside world and the inside world. For me, a successful picture resolves these tensions without eliminating them.
Like most photographers, I try to capture a moment in my work.
Your aim as a photographer is to get a picture of that person that means something. Portraits aren't fantasies; they need to tell a truth.
As photographers, we must learn to relax our beliefs. Move on objects with your eye straight on, to the left, around on the right. Watch them grow large as they approach, group and regroup as you shift your position. Relationships gradually emerge and sometimes assert themselves with finality. And that's your picture.
I have asked students at the beginning of their careers, what things of that sort might haunt them – what things they must photograph, things they have to try to shoot even before they master the intricacies of making dye transfer prints.
Part of the difficulty in trying to be both an artist and a businessperson is this: You make a picture because you have seen something beyond price; then you are to turn and assign to your record of it a cash value. If the selling is not necessarily a contradiction of the truth in the picture, it is so close to being a contradiction—and the truth is always in shades of gray-that you are worn down by the threat.
Philosophy can forsake too easily the details of experience… many writers and painters have demonstrated that thinking long about what art is or ought to be ruins the power to write or paint.
The history of art is filled with people who did not live long enough to enjoy a sympathetic public, and their misery argues that criticism should try to speed justice.
I am afraid that there are more people than I can imagine who can go no further than appreciating a picture that is a rectangle with an object in the middle of it, which they can identify.
I’ve always assumed that the abstract qualities of [my] photographs are obvious. For instance, I can turn them upside down and they’re still interesting to me as pictures. If you turn a picture that’s not well organized upside down, it won’t work.
There is no particular reason to search for meaning.
Photography just gets us out of the house.
After the fall of the Soviet Union, if you start the clock, then 47 journalists, reporters, cameramen, photographers have been killed in Russia since the fall of communism. That makes it the third most deadly country on Earth to practice journalism. That's not a record to be proud of.
Guys don't understand great art. They don't care that sometimes the camera has power beyond the photographer to record emotion that only the heart can see. They're threatened when the camera jumps ahead of me. Todd Kovich was pissed when I brought my Nikon to the prom, but I'd missed too many transcendent shots over the years to ever take a chance of missing one again. A prom, I told him, had a boundless supply of photogenic bozos who could be counted on to do something base.
The photographs are not illustrative. They, and the text, are coequal, mutually independent, and fully collaborative. By their fewness, and by the importance of the reader’s eye, this will be misunderstood by most of that minority which does not wholly ignore it. In the interests, however, of the history and future of photography, that risk seems irrelevant, and this flat statement necessary.
Documentary: That’s a sophisticated and misleading word. And not really clear… The term should be documentary style… You see, a document has use, whereas art is really useless.
I think there is a period of esthetic discovery that happens to a man and he can do all sorts of things at white heat.
Sometimes the most interesting visual phenomena occur when you least expect it. Other times, you think youre getting something amazing and the photographs turn out to be boring and predictable. So I think thats why, a long time ago, I consciously tried to let go of artists angst, and instead just hope for the best and enjoy it. I love the journey as much as the destination. If I wasnt a photographer, Id still be a traveler.
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