A Quote by Harry Callahan

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.
How foolish of me to believe that it would be that easy. I had confused the appearance of trees and automobiles, and people with a reality itself, and believed that a photograph of these appearances to be a photograph of it. It is a melancholy truth that I will never be able to photograph it and can only fail. I am a reflection photographing other reflections within a reflection. To photograph reality is to photograph nothing.
I approached photography the only way that I knew how to approach anything: as a job. I would get up, photograph all morning, stop and have lunch, and then, photograph all afternoon. I didn't think that I had to wait for some inspiration.
I could feel myself changing physically. It was like something dropped out of the sky. Seeing her on the fire escape had given me a certain feeling, and then when I saw the photograph of her, it gave me a similar feeling. And I thought that was an incredibly powerful thing - that a photograph could give you a feeling that was similar to a feeling you had in the physical world. Nobody could've told me that. I knew what I was going to do for the rest of my life.
When you photograph people in color you photograph their clothes. When you photograph people in black and white, you photograph their soul!
People talk about the 1960s in a nostalgic way, but to me it was terrifying. People were getting assassinated. There was Vietnam. There were race riots. It felt like everything was going to get blown up sky-high. It didn’t feel like flower power. It felt like Armageddon.
A photograph never grows old. You and I change, people change all through the months and years but a photograph always remains the same. How nice to look at a photograph of mother or father taken many years ago. You see them as you remember them. But as people live on, they change completely. That is why I think a photograph can be kind.
I always wanted to make an abstract photograph. I would photograph walls, sports interiors, marks on the walls people made. Even looking back it makes so much sense. It's like it was a fight against the photograph.
I've been there a thousand years, and I never felt comfortable. Beverly Hills - when I first saw it, I thought they put it up this morning. You got to pack water to get to the drugstore.
What the Photograph reproduces to infinity has occurred only once: the Photograph mechanically repeats what could never be repeated existentially.
I can't verbalize the internal meaning of pictures whatsoever. Some of my friends can at very mystical levels, but I prefer to say that, if I feel something strongly, I would make a photograph, that would be the equivalent of what I saw and felt.
I do not like eating meat because I have seen lambs and pigs killed. I saw and felt their pain. They felt the approaching death. I could not bear it. I cried like a child. I ran up a hill and could not breathe. I felt that I was choking. I felt the death of the lamb.
What if I said that every photograph I made was set up? From the photograph, you can't prove otherwise. You don't know anything from the photograph about how it was made, really.
I've always felt like an artistic person. I can't draw or paint or sculpt. I never really had technical skills, but I've always felt like I appreciate really beautiful things, and part of taking a good photograph is being able to recognize beauty.
To go and photograph an airbase is not only to photograph something but it is to insist on one’s right to photograph. You’re flexing that right.
What you photograph is responsible for how a photograph looks - the form, the design, whatever word you want to use.
I do not photograph for ulterior purposes. I photograph for the thing itself - for the photograph - without consideration of how it may be used.
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