Photography Quotes - Page 8

When we define the Photograph as a motionless image, this does not mean only that the figures it represents do not move; it means that they do not (i)emerge(i), do not (i)leave(i): they are anesthetized and fastened down, like butterflies.

As a young person, and I know it’s hard to believe that I was shy, but you could take your camera, and it would take you to places: it was like having a friend, like having someone to go out with and look at the world. I would do things with a camera I wouldn’t do normally if I was just by myself.

To consult the rules of composition before making a picture is a little like consulting the law of gravitation before going for a walk.

When I look at my old pictures, all I can see is what I used to be but am no longer. I think: What I can see is what I am not.

Capture the moment. It is your only sacred-memory.

God creates the beauty. Through my camera, I am a witness.

Photography helps people to see.

As objects of contemplation, images of the atrocious can answer to several different needs. To steel oneself against weakness. To make oneself more numb. To acknowledge the existence of the incorrigible.

Jay Maisel always says to bring your camera, ‘cause it’s tough to take a picture without it. Pursuant to the above aforementioned piece of the rule book, subset three, clause A, paragraph four would be…use the camera.Put it to your eye. You never know. There are lots of reasons, some of them even good, to just leave it on your shoulder or in your bag. Wrong lens. Wrong light. Aaahhh, it’s not that great, what am I gonna do with it anyway? I’ll have to put my coffee down. I’ll just delete it later, why bother? Lots of reasons not to take the dive into the eyepiece and once again try to sort out the world into an effective rectangle.It’s almost always worth it to take a look.

Sometimes I arrive just when God's ready to have somone click the shutter.

People spot a big black lens, and they worry about what they're doing, or how their hair looks. Nobody see the person holding the camera.

When your heart jumps every time your camera locks focus...You've become a photographer.

Photographs are just light and time" - Aza Holmes

The greatest moments are right in front of you.

Photographing a culture in the here and now often means photographing the intersection of the present with the past.

There is in fact something obscene and sinister about photography, a desire to imprison, to incorporate, a sexual intensity of pursuit.

It was uncanny. You press a button and a man drops dead a hundred meters away. It seemed hollow and remote, falsifying everything. It was a trick of the lenses. The man is an accurate picture. Then he is upside down. Then he is right side up. You shoot at a series of images conveyed to you through a metal tube. The force of a death should be enormous but how can you know what kind of man you’ve killed or who was the braver and stronger if you have to peer through layers of glass that deliver the image but obscure the meaning of the act? War has a conscience or it’s ordinary murder.

You don't take a photograph, you make it.

This gesture is one of the motifs of modernity's turn against the principle of imitating nature, that is to say, imitating predefined morphological expectations. It is still capable of perceiving message-totalities and autonomous thing-signals when no morphologically intact figures are left - indeed, precisely then. The sense for perfection withdraws from the forms of nature - probably because nature itself is in the process of losing its ontological authority. The popularization of photography also increasingly devalues the standard views of things. As the first edition of the visible, nature comes into discredit. It can no longer assert its authority as the sender of binding messages - for reasons that ultimately come from its disenchantment through being scientifically explored and technically outdone. After this shift, 'being perfect' takes on an altered meaning: it means having something to say that is more meaningful than the chatter of conventional totalities. Now the torsos and their ilk have their turn: the hour of those forms that do not remind us of anything has come. Fragments, cripples and hybrids formulate something that cannot be conveyed by the common whole forms and happy integrities; intensity beats standard perfection.

Any moment which is not captured is loss in the events of time.

Any moment which is not captured is loss in events of time.

A great photograph is one that fully expresses what one feels, in the deepest sense, about what is being photographed.

A picture was a motionless record of motion. An arrested representation of life. A picture was the kiss of death pretending to possess immutability.

This prolific and inventive photographer (Edward Steichen) must be given credit for virtually inventing modern fashion photography, and as the tohousands of high-quality original prints in the Conde Nast archives prove, only Irving Penn and Richard Avedon have since emerged as serious historical rivals.

What i like about photographs is that they capture a moment that’s gone forever, impossible to reproduce.

To get from the tangible to the intangible (which mature artists in any medium claim as part of their task) a paradox of some kind has frequently been helpful. For the photographer to free himself of the tyranny of the visual facts upon which he is utterly dependent, a paradox is the only possible tool. And the talisman paradox for unique photography is to work "the mirror with a memory" as if it were a mirage, and the camera is a metamorphosing machine, and the photograph as if it were a metaphor…. Once freed of the tyranny of surfaces and textures, substance and form [the photographer] can use the same to pursue poetic truth" (Minor White, Newhall, 281).

Its not enough to just own a camera. Everyone owns a camera. To be a photographer you must understand, appreciate and harness the power you hold!

My pictures are about making people realize we've got to protect those who can't speak for themselves.

There is the satisfaction of being able to look at the image without flinching. There is the pleasure of flinching.

What makes Capa a great photo journalist?" asks a reporter covering a 1998 retrospective of his work. "We see his own appetite for life, his mix of urgency with compassion . . . the artistic thrust of his photography always had more to do with its emotional pitch, which remained genuine and deeply felt." Or, in Capa's own words, a great picture "is a cut out of the whole event which will show more of the real truth of the affair to some one who was not there than the whole scene.

Usually the amateur is defined as an immature state of the artist: someone who cannot — or will not — achieve the mastery of a profession. But in the field of photographic practice, it is the amateur, on the contrary, who is the assumption of the professional: for it is he who stands closer to the (i)noeme(i) of Photography.

If we continually let go of the moments, we let go of who we are and we lose ourselves.

Everything that flickered could be made permanent. That was what drew him to photography, what made every painstaking step worth it: the permanence of the image. That was what fascinated him, the working against time...

And for the world's orphans. A portion of this book's proceeds will go to you.

A professor I had in college used to tell me that if someone won’t listen to what you have to say because you’re not wearing a tie, then put on a tie, ’cause what you have to say is more important than not wearing a tie. He was right.

The best thing about photography: it changes your point of view.

For the photograph's immobility is somehow the result of a perverse confusion between two concepts: the Real and the Live: by attesting that the object has been real, the photograph surreptitiously induces belief that it is alive, because of that delusion which makes us attribute to Reality an absolute superior, somehow eternal value; but by shifting this reality to the past ('this-has-been'), the photograph suggests that it is already dead.

When the world asks "what was it like?" Only the photographer can say "See!

You think too much and I bet it kills the magic," he says simply. "Some things are just instinct and if you try and replace that with thinking they die. You can read and think as much as you want before and after, but in the moment, man, you have to, like, let go.

A good photograph never belongs to the past; every time you look at it, it is with you, it is alive and it is in the present moment!

The camera has always been a guide, and it's allowed me to see things and focus on things that maybe an average person wouldn't even notice.

Mandy was thinking back to when she was five years old, when she, her parents and Jud went outside before Christmas and had a snowball fight with the gray snow of Sydney Mines. “This is a wicked blast,” Jud would say, and Mandy would snap photos with a 35mm disposable film camera, photos she wished very much she could step into sometimes.

A great photograph is a full expression of what one feels about what is being photographed in the deepest sense and is thereby a true expression of what one feels about life in its entirety.

Another unary photograph is the pornographic photograph (I am not saying the erotic photograph: the erotic is a pornographic that has been disturbed, fissured). Nothing more homogeneous than a pornographic photograph. It is always a naive photograph, without intention and without calculation. Like a shop window which shows only one illuminated piece of jewelry, it is completely constituted by the presentation of only one thing: sex: no secondary, untimely object ever manages to half conceal, delay, or distract... A proof a contrario: Mapplethorpe shifts his close-ups of genitalia from the pornographic to the erotic by photographing the fabric of underwear at very close range: the photograph is no longer unary, since I am interested in the texture of the material. The presence (the dynamics) of this blind field is, I believe, what distinguishes the erotic photograph from the pornographic photograph. Pornography ordinarily represents the sexual organs, making them into a motionless object (a fetish), flattered like an idol that does not leave its niche; for me, there is no punctum in the pornographic image; at most it amuses me (and even then, boredom follows quickly). The erotic photograph, on the contrary (and this is its very condition), does not make the sexual organs into a central object; it may very well not show them at all; it takes the spectator outside its frame, and it is there that I animate this photograph and that it animates me.

No matter how sophisticated the camera, the photographer is still the one that makes it.

I don't just look at the thing itself or at the reality itself; I look around the edges for those little askew moments-kind of like what makes up our lives-those slightly awkward, lovely moments.

A photograph is the best split-second decision one can make!

Photography is an itch that wont go away. No matter how much you scratch it.

A photograph is a most important document, and there is nothing more damning to go down to posterity than a silly, foolish smile caught and fixed forever.

Time eventually positions most photographs, even the most amateurish, at the level of art.

Nobody has ever taken a photograph of something they want to forget. We can build a wall of happy Kodak moments around ourselves, a wall of our Christmases, birthdays, baby showers and weddings, but we can never forget that celluloid film is see-through, that behind it, all the misery of real life waits for our wall to collapse someday.

Taking pictures is savoring life intensely, every hundredth of a second.

The canvas is the door to another dimension. The paintbrush is the key.

In a field where else you found a stackof revealing nature photographs, of supernude naturephotographs, split beaver of course nature photographs,photographs full of 70s bush, nature taking comefrom every man from miles around, nature with come backto me just dripping from her lips. The stack cameup to your eye, you saw: nature is big into bloodplay,nature is into extreme age play, nature does wild inter-racial, nature she wants you to pee in her mouth, natureis dead and nature is sleeping and still nature is on all fours,a horse it fucks nature to death up in Oregon, nature is hotyoung amateur redheads, the foxes are all in their holesfor the night, nature is hot old used-up cougars, naturemakes gaping fake-agony faces, nature is consensual dad-on-daughter, nature is completely obsessed with twins,nature doing specialty and nature doing niche, exotic femalesthey line up to drip for you, nature getting paddled as hardas you can paddle her, oh a whitewater rapid with her assin the air, high snowy tail on display just everywhere.

She had the most beautiful awkwardness

Collect moments rather than things. Moments get away.

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How can we hold onto those fleeting moments in our lives? Hold onto the moments that otherwise evaporate into the forgotten past? Or moments that become faded and morphed into our own version of reality as they sit in the corners of our memories, losing their truth and shifting focus? The only way to hold onto these moments and share them for years to come, in all their beauty and truth and glorious imperfections, without losing accuracy is through a photograph.

Taking a picture is like giving a piece of your soul away. You allow other people to see the world through your eyes.

I wanted to evaluate my own escape from the crowds in 5 different stages so that I could clarify my thoughts and help my readers get more benefits.(1) Getting away from the media(2) Getting away from the big city(3) Going to nature as a life style(4) Getting away from the social media(5) Being only with people I want