A Quote by Imogen Cunningham

Which of my photographs is my favorite? The one I'm going to take tomorrow. — © Imogen Cunningham
Which of my photographs is my favorite? The one I'm going to take tomorrow.
My favorite memory is Tomorrow. Tomorrow's family moments are what I look forward to every day. No single favorite. Just Tomorrow.
My favorite photograph, is the one I will take tomorrow.
... my father loved to take photographs of me. When I was nine I made my own costumes for a school play and I experienced becoming different characters. I loved to document myself as different images and I think my work evolved after this favorite activity. The photographs I exhibited in New York juxtaposed reality and fantasy. There was everyday life and fantasy was dismantling that reality.
I believe that photography can only reproduce the surface of things. The same applies to a portrait. I take photographs of people the same way I would take photographs of a plaster bust.
We are judged, not by the photographs we take, but by the photographs we show.
Nobody takes photographs, photographs take you.
From the black ocean comes the appearance of light and waves. It helps you imagine birth. I want imagination in the photographs I take. It's like a prologue. You wonder, What's going on? You feel something is going to happen.
We take life... we should take it more seriously, because you never know what's going to happen tomorrow.
My favorite commercial I did was my Verizon campaign, which I filmed a series of three commercials. My favorite movie I have done was 'House Under Siege' because it was my very first movie at 5 years old. My favorite TV show I have filmed was 'The Night Shift,' which is one of my favorite shows.
When I am preparing my 'lookalike' photographs, I think about the character of the real people, because, if the photographs are going to be plausible, you have to convince the viewer that they could have happened.
A good print is really essential. I want to take strong documentary photographs that are as good technically as any of the best technical photographs, and as creative as any of the best fine-art photographs. [...] I don't want to just be a photo essayist; I'm more interested in single images...ones that I feel are good enough to stand on their own.
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.
It is a nostalgic time right now, and photographs actively promote nostalgia. Photography is an elegiac art, a twilight art. Most subjects photographed are, just by virtue of being photographed, touched with pathos. ... All photographs are memento mori. To take photograph is to participate in another person's mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time's relentless melt
Greed arises only because your present moment is empty, and to live in an empty moment hurts very much. To forget it you project greed into the future, thinking that tomorrow things are going to be better, a lottery is going to open in your name. But of course you have to wait for tomorrow, it cannot be just now - and tomorrow never comes. All that comes is always the present moment, which is empty. Greed is because we don't know how to live the present moment in its total richness.
I found that while it was interesting to travel around and take the photographs, I would find that I was more interested in the stories behind the photographs. I was more interested in narrative.
I go out to take a walk, I see something, I take a picture. I take photographs. I have avoided profound explanations of what I do.
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