A Quote by Stephen Chbosky

It's like he would take a photograph of Sam, and the photograph would be beautiful. And he would think that the reason the photograph was beautiful was because of how he took it. If I took it, I would know that the only reason it's beautiful is because of Sam.
It's like he would take a photograph of Sam, and the photograph would be beautiful. And he would think that the reason the photograph was beautiful was because of how he took it. If I took it, I would know that the only reason it's beautiful is because of Sam. I just think it's bad when a boy looks at a girl and thinks that the way he sees the girl is better then the girl actually is. And I think it's bad when the most honest way a boy can look at a girl is through a camera. It's very hard for me to see Sam feel better about herself just because a boy sees her that way.
there is this one photograph... that is just beautiful. it would be impossible to describe how beautiful it is, but i’ll try. if you listen to the song “asleep,” and you think about those pretty weather days that make you remember things, and you think about the prettiest eyes you’ve known, and you cry and the person holds you back, then i think you will see the photograph.
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.
Between two fantasy alternatives, that Holbein the Younger had lived long enough to have painted Shakespeare or that a prototype of the camera had been invented early enough to have photographed him, most Bardolators would choose the photograph. This is not just because it would presumably show what Shakespeare really looked like, for even if the photograph were faded, barely legible, a brownish shadow, we would probably still prefer it to another glorious Holbein. Having a photograph of Shakespeare would be like having a nail from the True Cross.
If you could see a photograph of what it took to make an advertising photograph - things you don't think about, like the photo assistant carefully arranging the meatballs - the degree of unnaturalness would be astonishing. Yet it produces an image that looks natural, and is orchestrated to provoke basic emotional responses.
If you look at a photograph, and you think, 'My isn't that a beautiful photograph,' and you go on to the next one, or 'Isn't that nice light?' so what? I mean what does it do to you or what's the real value in the long run? What do you walk away from it with? I mean, I'd much rather show you a photograph that makes demands on you, that you might become involved in on your own terms or be perplexed by.
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 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.
If there was only one tree like that in the world, you would think it was beautiful. But because there are so many, you just can't see how beautiful it really is.
The good photograph is not the object, the consequences of the photograph are the objects. So that no one would say, how did you do it, where did you find it, but they would say that such things could be.
I was invited to photograph Hollywood. They asked me what I would like to photograph. I said, Ugly men.
You know, I think I understand what you're like now. You're very beautiful and you think men are only interested in you because you're beautiful. But you want them to be interested in you because you're you. The problem is, aside from all that beauty, you're not very interesting. You're rude, you're hostile, you're sullen, you're withdrawn... oh, I know- you want someone to look past all that at the real person underneath. But the only reason anyone would bother to look past all that is because you're beautful. Ironic, isn't it? In an odd way you're your own problem.
I really wanted to die at certain periods in my life. Death was like love, a romantic escape. I took pills because I didn't want to throw myself off my balcony and know people would photograph me lying dead below
I think it is quite wrong to photograph, for example, Garbo, if she doesn't want to be photographed. Now I would have loved to photograph her, but she obviously didn't want to be photographed so I didn't follow it up. Then somebody will photograph her walking down the street because she has to walk down the street, and I mind that sort of intrusion. I think this is horrible.
He wanted to live life in such a way that if a photograph were taken at random, it would be a cool photograph.
Perhaps the first photograph ever taken, Niépce's view of the rooftops over Saint-Loup-de-Varennes, was a truly pure photograph. The second one he took, he was already comparing nature to the first photograph he had taken.
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