A Quote by Sally Mann
I’m past photographing to see what things look like photographed.
Related Quotes
You learn to see by practice. It's Just like playing tennis, you get better the more you play. The more you look around at things, the more you see. The more you photograph, the more you realize what can be photographed and what can't be photographed. You just have to keep doing it.
I have a burning desire to see what things look like photographed by me.
Being a woman is just a marvelous plus in photographing. Men like to be photographed by women, it becomes flirtatious and fun, and women feel less as if they're expected to be in a relationship.
There is nothing as mysterious as a fact clearly described. I photograph to see what something will look like photographed.
...I started photographing myself, and found that I could see portions of myself that I had never seen before. Since I face just my face in the mirror, I know pretty much what it's like. When I see a side-view I'm not used to it, and find it peculiar... So, photographing myself and discovering unknown territories of my surface self causes an interesting psychological confrontation.
People aren’t photographing for history any more. It’s for immediate gratification. If you’re photographing to share an image, you’re not photographing to keep it.
I like to look in the crevices of things, the nooks and the crannies. I like to see the things other people don't see, don't want to look at.
You will never go wrong with actually photographing process. It's primitive. Humans love to see the bipedal animal in us finish things. We just like it!
I can see myself as a very old man in a terrific wheelchair. Only, I won't be photographing the tree outside my window, the way Steichen did. I'll be photographing other old people.
When I was photographed, I didn't feel I was acting. I just felt I was being photographed. It sort of taught me things about myself that I didn't know and was trying to find out.
When I'm photographing, I don't have that kind of nonsense running around in my head. I'm photographing. It's irrelevant in the end, so it doesn't mean a thing. It's not going to make me do better work or worse work as I can see it now.
I photographed the entire thing in color because to photograph it in black and white would be to keep it as a tragedy. Because there is a tragic element to photographing, in this case not war, but the collapse. It was just destruction.
Some actors don't mind it. Those who are pretty. They think it's nice to be looked at because they are nice to look at. I appreciate that. I'm very happy to salute that aspiration. But I don't like the way I look so I don't like being photographed. I become defensive.
As I became aware that all things have unique spatial and temporal qualities which visually define and relate them, I began to perceive the things I was photographing not as objects but as events. Working to develop my skills of perceiving and symbolizing these event qualities, I discovered the principle of opposites. When, for example, I photographed the smooth, luminous body of a woman behind a dirty cobwebbed window, I found that the qualities of each event were enhanced and the universal forces which they manifested were more powerfully evoked.
You can see the most beautiful things from the observation deck of the Empire State Building. I read somewhere that people on the street are supposed to look like ants, but that's not true. They look like little people. And the cars look like little cars. And even the buildings look little. It's like New York is a miniature replica of New York, which is nice, because you can see what it's really like, instead of how it feels when you're in the middle of it.
I don't like the way I look so I don't like being photographed. I become defensive.
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