Top 1200 Camera And Photography Quotes & Sayings

I love photography. My boyfriend's got a great camera, which I bought for his birthday.

I feel more like a creative artist using photography because there's - the digital work is so interesting now. It's come to that. I have had many different stages of photography - there are many different ways to take photos. But I feel now I'm in that stage of my life where I use the camera, you know, in that way.

The photogram, image formation outside the camera is the real key to photography,it embodies the essence... that allows us to capture light on light sensitive material without the use of any camera.

The whole nature of photography has changed with the advent of a camera in everybody's hand.

I was always in front of the camera. My mom was really passionate about photography - I have pictures of my whole life. I've always just been in front of my mom's camera and it's always comfortable to me.

Photography today is accomplishing a lofty mission in which every German should collaborate by buying a camera. The German people is ahead of every other in the technical domain and, thanks to its exceptional qualities, the small camera has conquered the whole world... Much is at stake here from the point of view of popular consumer goods and, furthermore, photography has a particularly important political role to play. (Addressing the Berlin Photography Fair, 1933)

With the camera, it's all or nothing. You either get what you're after at once, or what you do has to be worthless. I don't think the essence of photography has the hand in it so much. The essence is done very quietly with a flash of the mind, and with a machine. I think too that photography is editing, editing after the taking. After knowing what to take, you have to do the editing.

! discovered photography completely by chance. My wife is an architect; when we were young and living in Paris, she bought a camera to take pictures of buildings. For the first time, I looked through a lens - and photography immediately started to invade my life.

My directors of photography light my films, but the colours of the sets, furnishings, clothes, hairstyles - that's me. Everything that's in front of the camera, I bring you.

It is important to understand what are you trying to capture with a camera. What you want to use this tool for. It helps to begin to search for and concentrate on thematic photography.

My friend who I went to boarding school with was interested in photography. He insisted that I buy a camera and marched me downtown.

I discovered photography completely by chance. My wife is an architect; when we were young and living in Paris, she bought a camera to take pictures of buildings. For the first time, I looked through a lens - and photography immediately started to invade my life.

Photography is a very subtle thing. You must let the camera take you by the hand, as it were, and lead you into your subject.

The photogram, or camera-less record of forms produced by light, which embodies the unique nature of the photographic process, is the real key to photography.

You cannot explain the whole world in one photograph. Photography pretends. You can see everything that's in front of the camera, but there's always something beside it.

The camera is the least important element in photography.

The camera, you know, will never capture you. Photography, in my experience, has the miraculous power of transferring wine into water.

I came to photography with the desire to conquer this machine, the camera, and make it my slave. Instead, I have now a respect for it and all machines as expanders of my awareness.

I think the camera was always my obsession, the camera movements. Because for me it's the most important thing in the move, the camera, because without the camera, film is just a stage or television - nothing.

People have been reading photography as a true document, at the same time they are now getting suspicious. I am basically an honest person, so I let the camera capture whatever it captures whether you believe it or not is up to you; it’s not my responsibility, blame my camera, not me.

In a strict sense photography can never be abstract, for the camera is incapable of synthetic integration.

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

Painting requires skill. Photography is created by the camera, and one cannot fully control what the camera sees. So people take many photographs because several must always be discarded.

My main camera is a Nikon D3. I use a French camera from the 1800s for wet plate photography, I use a Hasselblad sometimes. But to me the camera really doesn't matter that much. I don't have a preference for film or digital.

As for the various kinds of montage photography, they are in reality not photography at all but a kind of painting in which photography is used - as pastiches of textiles are used in crazy-quilts - to form a mosaic. Whatever value the montage may have derives from painting rather than the camera.

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.

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

My first pictures are from 1972, and my first proper camera dates back to 1973. During the first year I used my father's camera. It had a flash on it, which I don't like, but I didn't know anything about photography back then, so it was just what I did.

Humans have changed the landscape so much, but images of the sea could be shared with primordial people. I just project my imagination on to the viewer, even the first human being. I think first and then imagine some scenes. Then I go out and look for them. Or I re-create these images with my camera. I love photography because photography is the most believable medium. Painting can lie, but photography never lies: that is what people used to believe.

The camera has a mind of its own--its own point of view. Then the human bearer of time stumbles into the camera's gaze--the camera's domain of pristine space hitherto untraversed is now contaminated by human temporality. Intrusion occurs, but the camera remains transfixed by its object. It doesn't care. The camera has no human fears.

I was always in front of the camera. My mom was really passionate about photography - I have pictures of my whole life. I've always just been in front of my mom's camera, and it's always comfortable to me.

The secret of photography is, the camera takes on the character and personality of the handler.

The stigma that used to exist many years ago, that actors from film don't do television, seems to have disappeared. That camera doesn't know it's a TV camera... or even a streaming camera. It's just a camera.

Considering that knowledge of the chemical as well as the optical principles of photography was fairly widespread following Schulze's experiment (in 1725)... the circumstance that photography was not invented earlier remains the greatest mystery in its history... It had apparently never occurred to any of the multitude of artists of the seventeenth and eighteenth centuries who were in the habit of using the camera obscura to try to fix its image permanently.

I wanted [my photography] to appear as though the camera was seeing by itself.

When I was teaching at Harvard in the 1970s, I went to Project Incorporated in Cambridge and took photography classes. I didn't even know how to aim the camera in those days.

There are only two hard things in photography; which way to point the camera and when to release the shutter.

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.

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.

I think the equipment you use has a real, visible influence on the character of your photography. You're going to work differently, and make different kinds of pictures, if you have to set up a view camera on a tripod than if you're Lee Friedlander with handheld 35 mm rangefinder. But fundamentally, vision is not about which camera or how many megapixels you have, it's about what you find important. It's all about ideas.

I do photography and I studied film at school. So I've always really enjoyed that and I've got an eye for camera angles I guess. I've never taken that into filming wildlife.

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.

I was always painting when I was a kid. But then when I handled a camera when I was 17, that was it for me. I loved photography. I would work 4 or 5 hours a day. It was like a calling.

With photography, everything is in the eye and these days I feel young photographers are missing the point a bit. People always ask about cameras but it doesn't matter what camera you have. You can have the most modern camera in the world but if you don't have an eye, the camera is worthless. Young people know more about modern cameras and lighting than I do. When I started out in photography I didn't own an exposure meter - I couldn't , they didn't exist! I had to guess.

I look at the camera as sort of a missing link between motion picture photography and still photography.

I came up in photography, and Dust Bowl-era photography is a lot of the reason that I got behind the camera in the first place.

There are many reasons why photography does not attract the social and cultural attention it deserves. I would add one more which has received scant attention: it does not make a lot of noise. ... Perhaps photography would be more appreciated if camera shutters fired with the sound of a .357 Magnum.

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.

You don't make a photograph just with a camera. You bring to the act of photography all the pictures you have seen, the books you have read, the music you have heard, the people you have loved.

A man with a camera was always suspected of being a spy. Moreover, the Jews did not want to be photographed, due to a misunderstanding of the prohibition against making graven images (photography had not been invented when the Torah was written!). I was forced to use a hidden camera.

In the grand spectrum of things in WWE, you are wrestling for that camera and that camera and that camera - and all the cameras they have - and you have to make things work that way because, through that camera, there's a million people watching.

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

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

There is 3 key things for good photography: the camera,lighting and... Photoshop

George Lucas wanted this moving camera for all of the photography in Star Wars. He was willing to take a risk with the concepts that I advanced with regard to ways for doing that.

Back in the day, I actually studied photography in Florence for a few months, and my photography teacher took away my digital camera and said, 'No, use this - it's analog and it's square.' It was a Holga camera, a very cheap $3 or $4 plastic camera. And that's what inspired 'Instagram'.

Once a photographer is convinced that the camera can lie and that, strictly speaking, the vast majority of photographs are camera lies, inasmuch as they tell only part of a story or tell it in distorted form, half the battle is won. Once he has conceded that photography is not a naturalistic medium of rendition and that striving for naturalism in a photograph is futile, he can turn his attention to using a camera to make more effective pictures.

To my father, art had no restrictions. He was a true 'American Primitive.' He greatly enjoyed sketching and photography, carrying a camera with him whenever he could.

The only thing which completely was an amazement to me and brought me to photography was the work of Munkacsi. When I saw the photograph of Munkacsi of the black kids running in a wave, I couldn't believe such a thing could be caught with the camera. I said, 'Damn it', I took my camera and went out into the street.

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.