Top 1200 Photography And Film Quotes & Sayings

There is a lot of social photography being done now to point to the untruth of photography. It's getting very dull now. So, okay photography doesn't tell the truth. So what? Everyone has known this forever.

Computer photography won't be photography as we know it. I think photography will always be chemical.

See, a painting is much cheaper than making a film. And photography is, you know, way cheap. So if I get an idea for a film, there are many ways to get it together and go realise that film. There's really nothing to be afraid of.

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.

Color tends to corrupt photography and absolute color corrupts it absolutely. Consider the way color film usually renders blue sky, green foliage, lipstick red, and the kiddies' playsuit. These are four simple words which must be whispered: color photography is vulgar.

When I was in the 12th standard itself, I decided to join the Adyar Film Institute and study photography. I specifically chose photography because I see photography as an applied science. There is an artistic element also in it. If you perfect your scientific element, you can attain certain quality.

The thing with my workshops is, photography is a thoughtful process. In an atmosphere of fast photography, and generally thoughtless, quick, automatic photography, I think that there is an interest in the slowed down, thoughtful approach.

I love being on film sets even if I'm not acting in the film, and I'm fascinated by the work of the director of photography.

I love football, but I'm also very passionate about photography and film.

Music, photography, media, film - it's all going to be free on the Internet. We have to accept it.

I like art, photography, film - all that creativity.

My biggest challenge was moving from photography to film without losing my way of working - which is very intimate and learning to collaborate with more people, since photography for me is a very solitary process.

For me, moving from photography to film was very easy.

I don't think I treat my film work as an extension of my photography. There are two different sets of rules there.

I'm studying art and photography, like film and digital - a mix of both.

First you study photography, then you practice photography, then you serve photography, and finally one becomes photography.

You don't have to shoot the film in the first couple days of principal photography.

I have problems with a lot of photography, particularly street photography and photojournalism - objectifying the other, finding the contempt and exoticism that you might feel within yourself or toward yourself and projecting it out to others. There can be an abusive power to photography, too.

I was writing when I was very young, and then I became interested in everything - I wanted to do photography. I wanted to act. I wanted to write plays, and then I wanted to film and to paint, but I felt that film had a condition that reunites everything.

The only advantage of the CD is that you have a booklet that can tell a bit of a story, but the little covers are just boring. I love vinyl, and I have loads of it. It's the same thing as digital photography versus film photography. It's a quality thing.

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.

My photography is very European. In America, I always get the sense that people are comforted by understanding what they're looking at. Photography's quite clear here [in the U.S.], it's very well-explained. My photography's perhaps not as well-explained.

I was drawn to photography as an extension of film, and the beauty of film is that it's a sensuous, fetishistic medium.

I regard photography and film simply as new technical means which painters must absolutely make use of, just as from time out of mind they have made use of brush, charcoal and color. It is certain, however, that photography and film must become as evocative for the sensibility as pencil, charcoal and brush. (1927)

I don't want to knock photography, and I don't feel that film is up there but photography isn't. I think they're next to each other really, you know. There's an incredible strength to a still picture. Or there can be an incredible strength to a still picture that can outlive you. That can outlive a film.

I always liked photography in film - I studied photography growing up. I like the medium of film; I like physically holding 35-mm film. I like the way it looks, the quality when it's projected. I like the way it frames real life.

Anthropology... has always been highly dependent upon photography... As the use of still photography - and moving pictures - has become increasingly essential as a part of anthropological methods, the need for photographers with a disciplined knowledge of anthropology and for anthropologists with training in photography has increased. We expect that in the near future sophisticated training in photography will be a requirement for all anthropologists. (1962)

For example, Michael Mann's film Collateral - there is certain kinds of stories that lend themselves to digital photography. Some things are very raw stories that digital photography kind of lends itself to.

Germany led the world in photography and film: 'The Cabinet of Dr Caligari' and 'Metropolis' are works that, to this day, film buffs revere.

It was only after a while, after photographing mines and clear-cutting of forests in Maine, that I realized I was looking at the components of photography itself. Photography uses paper made from trees, water, metals, and chemistry. In a way, I was looking at all these things that feed into photography.

And friends of mine that had photography class in high school would develop the film and make prints and I'd take them back to the track and give 'em away or try and sell them. Much to my parents' dismay, I majored in photography in college.

I'm staying with film, and with silver prints, and no Photoshop. That's the way I learned photography: You make your picture in the camera. Now, so much is made in the computer... I'm not anti-digital; I just think, for me, film works better.

I don't think that digital photography is romantic yet. It's not sympathetic the way that film is.

I usually befriend the camera department very early on in the film and drive them nuts. I'm constantly bombarding them with questions and going through the stills photography. A film set is a great place for me and I love it.

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.

I don't know that there were any rules for documentary photography. As a matter of fact, I don't think the term was even very precise. So as far as I'm concerned, the kind of photography I did in the FSA was the kind of photography I still do today, because it is based on passionate concern for the human condition. That is the basis of all the work that I do.

All my film ideas and subjects have come from photography.

Most importantly, postmodernism comes down on the side of photography and power, not photography as power. As a consequence, photography continues to be conceived as an inconsequential vehicle or passage for real powers that always originate elsewhere.

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.

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 is a very forgiving medium. Anybody that can afford film and a camera can make pictures.

I took courses at USC in film editing and art direction and photography when I was still in high school.

I became passionate about nature filmmaking when I graduated from UCLA, and one of the things I always wanted to do was shoot really high quality film, so I got into time-lapse photography - so that means when you shoot a flower, you're shooting, like, one frame every twenty minutes, so that's basically two seconds of a film per day.

I left film because I felt that photography was my art. It was something I could do on my own, whereas film was so collaborative. I thought as a photographer I could make something that was artistic and that was mine, and I liked that. And it wasn't until I got back into film and I have very small crews and I could do very tiny filmmaking that wasn't 100 people that I still felt that I was making something artistic as a filmmaker. So, you know, I'm an artist, and whether it's photography or film, I want my voice to be there and I think my voice is very strong in this film.

To me, photography is 90% a retrospective experience. There's the part of pursuing the image, and exposing the film, but once you make the exposure, you're always looking backwards in time. I like that aspect of photography.

[Photography] can be tiny, on your phone, or it can be a billboard, or a film-sized projection, or printed in a magazine. I don't think we've been in a time before when so much photography is available in so many formats, when everybody is a photographer.

I did photography in summer camp; I did it in high school. The only hard decision I've had to make was whether to go towards photo or film. And I ultimately realized that the type of photo I was interested in was actually photojournalism. And it's a very individualist career, whereas film is a very team-driven medium. So that's why I chose film.

When I started working in film, I loved photography, I loved the image, I loved telling the story within a frame, but as I started playing around with film and video, it was like, 'Oh my god.' You just have so much more to play with.

I find that when one has worked long enough, technical know-how becomes almost irrelevant. In photography, it's not difficult to reach a technical level where you don't need to think about the technique any more. I think there is far too much literature and far too much emphasis upon the techniques of photography. The make of camera and type of film we happen to use has little bearing on the results.

I don’t use an exposure meter. My personal advice is: Spend the money you would put into such an instrument for film. Buy yards of film, miles of it. Buy all the film you can get your hands on. And then experiment with it.That is the only way to be successful in photography. Test, try, experiment, feel your way along. It is the experience, not technique, which counts in camera work first of all. If you get the feel of photography, you can take fifteen pictures while one of your opponents is trying out his exposure meter.

Photography is very subjective. Photography is not a document on which a report can be made. It is a subjective document. Photography is a false witness, a lie.

I always saw photography as a way to get to film.

The history of photography needs clearing out. It needs something else now. Because photography always acknowledged there were cameras before photography.

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.

It's the first time that I've ever had an art show based on a film, but it's a photography collage.

I like to think of Photography 1.0 as the invention of photography. Photography 2.0 is digital technology and the move from film and paper to everything on a chip. Photography 3.0 is the use of the camera, space, and color and to capture an object in the third dimension.

In terms of digital photography, I continue to print and use film for the most part. I still shoot with film, 21/4 film specifically, and I love it. I love it because I know what it does, how it really responds to light.

There's only one rule in photography - never develop colour film in chicken noodle soup.

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 worked a little as a messenger on a bicycle and then decided to study photography and film.