A Quote by Harry Callahan

I wish more people felt that photography was an adventure the same as life itself and felt that their individual feelings were worth expressing. To me, that makes photography more exciting.
I collect art on a very modest scale. Most of what I have is photography because I just love it and it makes me happy and it looks good in my home. I also have a pretty big collection of art books mainly, again, on photography. A lot of photography monographs, which is great because with photography, the art itself can be reproduced quite well in book form.
Photography has become so fundamental to the way we see that 'photography' and 'seeing' are becoming more and more synonymous. The ubiquity of photography is, perhaps ironically, a challenge to curators, practitioners, and critics.
Don't ask for the task to be easy... just ask for it to be worth it Don't wish it was easier... wish you were better Don't ask for less challenge... ask for more skill Don't ask for less problems... and for more wisdom It's the challenge that makes the experience. Life and it's colour and meaning and adventure for you is this collection of experiences. To wish them away is to wish your life away.
I didn't do well in high school, but I took photography, and I loved being able to capture moments. It led to more and more photography, and fashion was the angle into photography for me. It was incredible to see photographs by Irving Penn or Helmut Newton. I was really intrigued by that, and that's what led me to New York City.
What's happened is that the digital age has made photography more accessible to people. Everyone is a photographer. But to do it [photography] at a certain level, well, there's a skill to it. Still, it's a good time for photography now.
Everything always looked better in black and white. Everything always looked as if it were the first time; there's always more people in a black and white photograph. It just makes it seem that there were more people at a gig, more people at a football match, than with colour photography. Everything looks more exciting.
People knew less of each other, perhaps, but they felt more free of each other, and so were more individual. The entire world was not for them only a push or a switch away. Strangers were strange, and sometimes with an exciting, beautiful strangeness. It may be better for humanity that we should communicate more and more.
In a world and a life that moves so fast, photography just makes the sound go out and it makes you stop and take a pause. Photography calms me.
I believe that street photography is central to the issue of photography—that it is purely photographic, whereas the other genres, such as landscape and portrait photography, are a little more applied, more mixed in the with the history of painting and other art forms.
Photography is more than a window for me. Photography is more like a space that tries to capture situations.
In the '70s, in Britain, if you were going to do serious photography, you were obliged to work in black-and-white. Color was the palette of commercial photography and snapshot photography.
I studied photography at Bard, but I just felt tired of it. Someone asked me to be in a video but didn't want to be in it, so they told me to make my own, and that seemed more fun to me.
Now that photography is a digital medium, the ghost of painting is coming to haunt it: photography no longer retains a sense of truth. I think that's great, because it frees photography from factuality, the same way photography freed painting from factuality in the mid-nineteenth century.
I think that photography has allowed me to have a voice. I used to stutter, and once I overcame that struggle, it felt good to tell people they were beautiful and special.
My paintings have an ongoing dialogue with photography. There are many painters who would say the same, I'm sure. The difference is that I'm thinking more about the temporal aspect of photography, rather than the visual.
To know whether photography is or is not an art matters little. What is important is to distinguish between good and bad photography. By good is meant that photography which accepts all the limitations inherent in photographic technique and takes advantage of the possibilities and characteristics the medium offers. By bad photography is mean that which is done, one may say, with a kind of inferiority complex, with no appreciation of what photography itself offers: but on the contrary, recurring to all sorts of imitations.
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