A Quote by Bubba Wallace

I see all these professional photographers out at the racetrack, and there's all these people across the world, taking really cool pictures and you're like, 'Man, I want to create that!' I had that mindset when I first grabbed a camera.
What does it mean to go deeper? Taking pictures when you're more emotional or sorrowful, or having sex? I just want to have really boring snapshots - people just standing in front of a camera taking pictures with a smile.
If I had to give advice to other photographers, I would first suggest quickly getting over the camera equipment questions. In my humble opinion, the make and format of a camera is ultimately low on the priority scale when it comes to making pictures.
I see a few hands stretching out to me at the edge of the net, so I grabbed the first one I could reach and pull myself across. I roll off, and would have fallen face-first onto a wood floor if he had not caught me. "He" is the young man attached to the hand I grabbed. He has a spare upper lip and a full lower lip. His eyes are so deep-set that his eyelashes touch the skin under his eyebrows, and they are dark blue, a dreaming, sleeping, waiting color.
And that desire-the strong desire to take pictures-is important. It borders on a need, based on a habit: the habit of seeing. Whether working or not, photographers are looking, seeing, and thinking about what they see, a habit that is both a pleasure and a problem, for we seldom capture in a single photograph the full expression of what we see and feel. It is the hope that we might express ourselves fully-and the evidence that other photographers have done so-that keep us taking pictures.
Theres no such thing as Flickr Pro because today, with cameras as pervasive as they are, theres no such thing, really, as professional photographers when theres everything thats professional photographers. Certainly theres varying levels of skills but we didnt want to have a Flickr Pro anymore. We wanted everyone to have professional quality photo space and sharing.
What I want is the world to remember the problems and the people I photograph. What I want is to create a discussion about what is happening around the world and to provoke some debate with these pictures. Nothing more than this. I don't want people to look at them and appreciate the light and the palate of tones. I want them to look inside and see what the pictures represent, and the kind of people I photograph.
It would be so easy to lose the plot now. It's not about achieving something for its own sake, and taking pictures for their own sake. But to make conscious decisions and choices, and it includes this constant questioning - Why am I taking pictures? Because really, the world is... it has pictures enough. I mean, there are enough pictures out there.
My first pictures are from 1972, and my first proper camera dates back to 1973. During the first year I used my father's camera. It had a flash on it, which I don't like, but I didn't know anything about photography back then, so it was just what I did.
With photography, everything is in the eye and these days I feel young photographers are missing the point a bit. People always ask about cameras but it doesn't matter what camera you have. You can have the most modern camera in the world but if you don't have an eye, the camera is worthless. Young people know more about modern cameras and lighting than I do. When I started out in photography I didn't own an exposure meter - I couldn't , they didn't exist! I had to guess.
Making photos is helpful of course to master the craft. To get comfortable with the camera. Learn what a camera can do and how to use the camera successfully. Doing exercises for example if you try to find out things that the camera can do that the eye cannot do. So that you have a tool that will do what you need to be done. But then once you have mastered the craft the most important thing is to determine why you want to shoot pictures and what you want to shoot pictures of. That's where the thematic issue comes to life.
The main thing is to study pictures and stop listening to the pontifictaions of photographers. Photographers aren't oracles of wisdom. If they're good photographers, then take a good look at their pictures - what else do you need?
My eyes has been my camera taking pictures of the world and my songs has been my messages that I tried to scatter across the back sides and along the steps of the fire escapes and on the window sills and through the dark halls.
After 'David Pumpkins,' a lot of people were sending me pictures dressed up like David Pumpkins and the skeletons, and videos of kids reenacting the sketch, doing the skeleton choreography. It was really cool to see yourself out there in the pop culture of the world.
When I'm taking pictures I even forget that I have a camera. When I shoot I forget about everything. Light comes, death comes, people go in and out in costume - and it's like a play.
If people are taking pictures of me at Starbucks, it's not the end of the world. It's cool, it's fun, it's exciting.
I'm the sort of person who takes a camera to dinner or a nightclub because I enjoy taking pictures of people. I tweet all my pictures, which is bad.
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