A Quote by Imogen Cunningham
I never stopped photographing. There were a couple of years when I didn't have a darkroom, but that didn't stop me from photographing.
Related Quotes
People aren’t photographing for history any more. It’s for immediate gratification. If you’re photographing to share an image, you’re not photographing to keep it.
I told myself, 'When I grow up, I want to make pictures that can inspire and nourish people.' Immediately, when I was 10, I started photographing nature. I built a darkroom. My first really good darkroom, not just down in the cellar, was when I was 14.
Over the years I have photographed thousands of people. I have never stopped being curious and trying to discover new worlds. I have used my camera as a mirror for my subjects as well. I remember photographing a woman in her 80s for my book, Wise Women, who told me it had been a long time since anyone had really been interested in "seeing" or photographing her. When she saw the picture, she burst into tears. She saw something in the photograph, an inner beauty and soul, she felt had long ago vanished.
It doesn’t matter if you use a box camera or a Leica, the important thing is what motivates you when you are photographing. What I have tried to do is involve the people I was photographing. To have them realize without saying so, that it was up to them to give me whatever they wanted to give me . . . if they were willing to give, I was willing to photograph.
When I'm photographing, I don't have that kind of nonsense running around in my head. I'm photographing. It's irrelevant in the end, so it doesn't mean a thing. It's not going to make me do better work or worse work as I can see it now.
It doesn't matter if you're photographing a porter in a market in Marrakech or you're photographing the king of Morroco. You have the same sympathetic approach to everybody. You be nice to everybody, basically.
There is no one way of photographing anything. I don't believe there is even one best way of photographing any given subject.
Ultimately, the reward is the process - the process of photographing and discovering and trying to understand why and what am I photographing.
I can see myself as a very old man in a terrific wheelchair. Only, I won't be photographing the tree outside my window, the way Steichen did. I'll be photographing other old people.
Snapshots that have been taken of me working show something I was not aware of at all, that over and over again I'm holding my own body or my own hands exactly like the person I'm photographing. I never knew I did that, and obviously what I'm doing is trying to feel, actually physically feel, the way he or she feels at the moment I'm photographing them in order to deepen the sense of connection.
I think the best pictures are often on the edges of any situation, I don't find photographing the situation nearly as interesting as photographing the edges.
When you're photographing anything to do with war and conflict you're photographing something impossible. Everything you do is just clumsy and stupid and half witted. Because it is impossible to portray the full width and breadth of everything that you are up against.
I hate having my photograph taken and I try to keep that in mind when I'm photographing other people. But the best photos that I've taken are the ones when people have forgotten that I'm there. If I'm in a recording studio with a musician, for example, maybe I'm not photographing them in the middle of a take but I can just get that stolen moment of them resting and they glance over to me.
...I started photographing myself, and found that I could see portions of myself that I had never seen before. Since I face just my face in the mirror, I know pretty much what it's like. When I see a side-view I'm not used to it, and find it peculiar... So, photographing myself and discovering unknown territories of my surface self causes an interesting psychological confrontation.
Noon-day sunshine cinema-ized the site, turning the bridge and the river into an over-exposed picture. Photographing it with my Instamatic 400 was like photographing a photograph. The sun became a monstrous light-bulb that projected a detached series of stills through my Instamatic into my eye.
I think when you're photographing - when anybody's photographing another person in a private situation, it's a kind of a seduction but it's not always a sexual seduction... I feel like when Jack [Welpott] was doing it, it was a sexual seduction and when I was doing it, it was more of a psychological seduction in order to get them to cooperate with me... Not because I wanted them to spread their legs or... be, you know, Wanna sleep with me? , or whatever.
Related Authors
Amanda de Cadenet Quotes
English
Photographer
Annie Leibovitz Quotes
American
Photographer
Ansel Adams Quotes
American
Photographer
David Bailey Quotes
English
Photographer
David LaChapelle Quotes
American
Photographer
Elliott Erwitt Quotes
French
Photographer
Garry Winogrand Quotes
American
Photographer
Henri Cartier-Bresson Quotes
French
Photographer
Jay Maisel Quotes
American
Photographer
Lynsey Addario Quotes
American
Photographer
Martin Parr Quotes
British
Photographer
Mary Ellen Mark Quotes
American
Photographer
Nan Goldin Quotes
American
Photographer
Robert Adams Quotes
American
Photographer
Sally Mann Quotes
American
Photographer
Sam Abell Quotes
American
Photographer