A Quote by Paul Walker

Being a digital photographer I'm in awe of the older generation of photographers who created all those iconic cinematic style images on film, such as Man Ray's portrait of the photographer Lee Miller.
A photographer's main instrument is his eyes. Strange as it may seem, many photographers choose to use the eyes of another photographer, past or present, instead of their own. Those photographers are blind.
I'm in the early stages of a film called 'Freezing Time' about Eadweard Muybridge, the Victorian photographer who was really the forefather of cinema. Digital animators still treat his images like the Bible. He was a very obsessed man.
A photographer is a witness. He has a moral duty. Every picture must be true and honest. I believe a photographer's strength is his ability to accurately record reality. There are photographers who think they are lucky if they find unusual or special subject. But it is never the subject that is so marvelous. It is how alive and real the photographer can make it.
Well, I'm not going to get into that. I think that those kind of distinctions and lists of titles like "street photographer" are so stupid. I'm a photographer, a still photographer. That's it.
I've never not been sure that I was a photographer any more than you would not be sure you were yourself. I was a photographer, or wanting to be a photographer, or beginning - but some phase of photographer I've always been.
I became a photographer in order to be a war photographer, and a photographer involved in what I thought were critical social issues. From the very beginning this was my goal.
A photographer who wants to see, a photographer who wants to make fine images, must recognize the value in the familiar.
Digital art software has empowered both the painterly side of photographers, and the photographer side of painters.
I’ve noticed that the people who started on film still have the ability to see the person in front of them. Whereas for a lot of photographers who have only ever worked in digital, the relationship between the photographer and the person who they’re taking a picture of sort of doesn’t exist anymore. They’re looking at a computer screen as opposed to the person.
If you look at the greatest models, it was because they were muses to photographers. They collaborated with the artist and they created the kind of images that become iconic.
It is a serious job being a portrait photographer, which is how I saw myself.
If there is a single factor which separates the best photographers from the wannabes it is the quantity of images which they produce. They seem to be forever shooting. I have watched many of them as they take picture after picture even when they are not photographing. [...] Often these intimate images do not look as though they were taken by the same photographer. And that is their fascination and charm.
None of us is born with the right face. It’s a tough job being a portrait photographer.
In some areas, [Getty Images has] more images than the rest of the market put together. But libraries are being built up at a terrific pace. A photographer in a lifetime will produce maybe a million images, and there are about 15,000 professionals at work out there.
The images which the [press] photographer has filtered from reality, whether particular events or the anguish of human reactions to them, already bear a stamp of authenticity which the photographer is powerless to alter by one jot or tittle; the meaning of the objects, by a process of purification, itself becomes the theme of the work.
Fantasy isn't something I put into the pictures; I don't try and inject them with a sense of play. But it's about being an honest photographer; a photograph is as much of a mirror of the photographer as it is the subject.
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