A Quote by Alfred Stieglitz

My aim is increasingly to make my photographs look so much like photographs [rather than paintings, etchings, etc.] that unless one has eyes and sees, they won't be seen - and still everyone will never forget having once looked at them.
I've had photographs taken for portraits because I very much prefer working from the photographs than from models... I couldn't attempt to do a portrait from photographs of somebody I didn't know.
Every year, the memories I have of my father become more faint, unclear, and distant. once they were vivid and true, then they became like photographs, and now they are more like photographs of photographs.
All photographs are about light. The great majority of photographs record light as a way of describing objects in space. A few photographs are less about objects and more about the space that contains them. Still fewer photographs are about light itself.
What's important to me is that [photographs] have the appearance of being documents of what goes on. I like the illusion of veracity, that they look like life rather than movie stills. I don't want them to look fabricated.
I make photographs and still make photographs of the natural environment. It's a love because that was part of my life before I was involved in photography.
Images anesthetize. An event known through photographs certainly becomes more real than it would have been if one had never seen the photographs ... But after repeated exposure to images it also becomes less real. ... 'concerned' photography has done at least as much to deaden conscience as to arouse it.
All photographs are there to remind us of what we forget. In this - as in other ways - they are the opposite of paintings. Paintings record what the painter remembers. Because each one of us forgets different things, a photo more than a painting may change its meaning according to who is looking at it.
Photographers must learn not to be ashamed to have their photographs look like photographs.
Still photographs are the most powerful weapon in the world. People believe them, but photographs do lie, even without manipulation. They are only half-truths.
To me, photographs are like words and I generally will place many photographs together or print them one inside the other in order to construct a free-floating sentence that speaks about the world I witness.
Everyone thinks he knows what a lettuce looks like. But start to draw one and you realise the anomaly of having lived with lettuces all your life but never having seen one, never having seen the semi-translucent leaves curling in their own lettuce way, never having noticed what makes a lettuce a lettuce rather than a curly kale.
If my people are wiped out you must destroy all photographs of us, because future generations will look at our photographs and be too ashamed at such a crime against humanity.
The reason I do photographs is to help people understand my music, so it's very important that I am the same, emotionally, in the photographs as in the music. Most people's eyes are much better developed than their ears. If they see a certain emotion in the photograph, then they'll understand the music.
Appropriation is the idea that ate the art world. Go to any Chelsea gallery or international biennial and you'll find it. It's there in paintings of photographs, photographs of advertising, sculpture with ready-made objects, videos using already-existing film.
I have a rule that I don't review shows from photographs or from video. I certainly might go back and look at photographs and look at video to remind myself of something or for personal information. But I never review from that.
I began to realize that photographs, these still images, have a tremendous power to move your soul. They can change your life by what you choose to get out of them, and I started to collect photographs.
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