A Quote by Amelie Nothomb

The purpose of the photograph is to reveal the love that is felt in a single image. — © Amelie Nothomb
The purpose of the photograph is to reveal the love that is felt in a single image.
I felt like an undeveloped photograph that he was printing, my image rising to the surface under his gaze.
My project could be only to photograph as I felt and desired, to regulate a pleasant form of living, to get up in the morning-free, to feel the trees, the grass, the water, sky or buildings, people-everything that affects us; and to photograph that which I saw and have always felt.
I love having the photograph in my hand. I love looking at the photograph. I love looking at a box of photographs. I just love the still photograph.
It is impossible to deny that Christians and Muslims have a common agenda here: both faiths have at their heart the living image of a community raised up by God's call to reveal to the world what God's purpose is for humanity.
A photograph is a photograph, a picture, an image, an illusion complete within itself, depending neither on words, reproductive processes or anything else for its life, its reason for being.
A photograph is a meeting place where the interests of the photographer, the photographed, the viewer and those who are using the photograph are often contradictory. These contradictions both hide and increase the natural ambiguity of the photographic image.
Today a lot of things are so celebrity-oriented; it's only because it's celebrity and the photograph is lost. To me it's important to have an image that is a photograph first, not about necessarily who that person is.
Unlike any other visual image, a photograph is not a rendering, an imitation or an interpretation of its subject, but actually a trace of it. No painting or drawing, however naturalist, belongs to its subject in the way that a photograph does.
In 1990, when they asked me to shoot a cover for 'British Vogue' to convey my personal vision of a woman, I explained that I couldn't just photograph one single girl, because what I was looking for was a new purpose, and new feminine determination.
To the vast majority of people a photograph is an image of something within their direct experience: a more-or-less factual reality. It is difficult for them to realize that the photograph can be the source of experience, as well as the reflection of spiritual awareness of the world and of self.
I started to concentrate more upon how the viewer looks at photographs... I would insert my own text or my own specific reading of the image to give the viewer something they might not interpret or surmise, due to their educated way of looking at images, and reading them for their emotional, psychological, and/or sociological values. So I would start to interject these things that the photograph would not speak of and that I felt needed to be revealed, but that couldn't be revealed from just looking at an image.
A photograph is not only an image (as a painting is an image), an interpretation of the real; it is also a trace, something directly stenciled off the real, like a footprint or a death mask.
If you could see a photograph of what it took to make an advertising photograph - things you don't think about, like the photo assistant carefully arranging the meatballs - the degree of unnaturalness would be astonishing. Yet it produces an image that looks natural, and is orchestrated to provoke basic emotional responses.
It is the single image, as used in a photograph or a painting - or the frame of a film - to which words have been added to enlarge the context. The method is not the same as that by which most paintings are named. It is closer in its performance to what dialogue does to a movie, to what the caption does to a good poster.
I'm deeply interested in the photograph as a record of an encounter and enjoy putting myself in a timeline of image-makers, alongside other travelers, such as anthropologists, colonists, missionaries, even tourists. I do that to emphasize subjectivity, rather than privilege any single perspective - I see myself as only one of many storytellers.
A man is likewise form and expression, a written sign thrown unto boundless matter, an undifferentiated word of what is. I've therefore been created in the image of the inscriptions that, as a child, I used to project unto my bits of bone, stone, wood, and iron, probably even in the image of a single one of their words, a single one of their letters.
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