Top 1200 Camera And Photography Quotes & Sayings - Page 2

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 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.

Photography is the act of "fixing" time, not of "expressing" the world. The camera is an inadequate tool for extracting a vision of the world or of beauty.

You don't want to be the guy whose back's to the camera in the emotional part of the movie. So, you have to be aware of the camera movement and what the camera's doing.

What most artists using photography feel that they need to do is to show that they are serious, that they are not taking snapshots. To point a camera at something does not qualify you as an artist because everybody has done that.

When you think about it, media's the intersection of content and technology - it's all about storytelling, like photography and the camera.

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.

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 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.

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've always been interested in photography. I remember when I was about 14, I spent an entire summer selling lottery tickets in some little booth so I could make enough money to buy an Olympus camera.

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.

I did take my camera along, as I felt there wouldn't be enough time to draw the things I wanted to do. I did some drawing and did a lot of photography but I was not part of Stryker's outfit at all.

Photography should be redefined. It's largely technical... Photography is just unbelievably limiting. I always think of David Bailey and all the fashion photographers - they overlap, you can't always tell who did it. I don't really even like photography all that much. I just think it's so overdone.

My interest in photography did not begin with books or mentors, or with any burning desire to see the world through a camera. It evolved from an intense devotion to mountains and wilderness that eventually shaped all the parts of my life and brought them together.

When you see what you express through photography, you realize all the things that can no longer be the objectives of painting. Why should an artist persist in treating subjects that can be established so clearly with the lens of a camera?

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.

It's actually one of the only things that I do that I don't get frustrated over. Everything else I do - racing, golf, video games - those things I want to win at. With photography, I think the camera wins every time.

I discovered that this camera was the technical means in photography of communicating what the world looks like in a state of heightened awareness. And it's that awareness of really looking at the everyday world with clear and focused attention that I'm interested in.

Photography came as a substitute. I was painfully shy and found talking to people difficult; a camera in hand gave me a function, a reason to be somewhere, a witness, but not an actor.

For half a century photography has been the "art form" of the untalented. Obviously some pictures are more satisfactory than others, but where is credit due? To the designer of the camera? to the finger on the button? to the law of averages?

With the work that I do as a director, I've got dialogue, camera movement, and character blocking to help create a tone to the piece. In photography, those elements are somewhat void so that tone becomes a bit more subtle but still equally important.

I use photography as a way to help me understand why I am here. The camera helps me to see.

I come from a visual background. I used to work in the camera department at Warner Bros. when I was a teenager. I grew up dusting lenses and learning about photography.

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)

Photography through the camera is an instrument of detection. We photograph not only what we know, but also what we don't know.

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.

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.

Photography is a source of raw materials as I believe the camera is never perfect and will never be able to express in full what I see and feel.

To us, the difference between the #? photographer as an individual eye and the photographer as an objective recorder seems fundamental, the difference often regarded, mistakenly, as separating photography as art from #? photography as document. But both are logical extensions of what photography means: note-taking on, potentially, everything in the world, from every possible angle.

Photography has fooled the world. There's no more convincing fraud. Its images are nothing but the expression of the invisible man working behind the camera. They are not reality, they form part of the language of culture.

The purpose of photography is the transmission of a visualized sector of life through the medium of the camera into a mental process that starts with the photographer's thinking about the subject he photographs and is continued in the mind of the spectator.

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.

... photography, like all camera-made images such as film and video, effaces the marks of its making (and maker) at the click of a shutter. A photograph appears to be self-generated - as though it had created itself.

So when I became interested in photography and further being inspired by the work that I saw of Ansel and others, it was a natural extension to go back to these places that I knew as a kid and explore them with my camera.

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.

One of my passions is photography. I always carry a camera in my bag whenever I travel. I always take pictures wherever I go, and some of them end up being really crazy ones.

Here’s a current example of the challenge we face. At the height of its power, the photography company Kodak employed more than 140,000 people and was worth $28 billion. They even invented the first digital camera. But today Kodak is bankrupt, and the new face of digital photography has become Instagram. When Instagram was sold to Facebook for a billion dollars in 2012, it employed only thirteen people. Where did all those jobs disappear to? And what happened to the wealth that all those middle-class jobs created?

I was attracted to photography because it was technical, full of gadgets, and I was obsessed with science. But at some point around fifteen or sixteen, I had a sense that photography could provide a bridge from the world of science to the world of art, or image. Photography was a means of crossing into a new place I didn't know.

Living in a time of the increasing struggle of the mechanization of man, photography has become another example of this paradoxical problem of how to humanize, how to overcome a machine on which we are thoroughly dependent... the camera.

Aesthetics does not exist for the camera as an isolated entity. Aesthetics, in fact, is inseparable from the purpose of the photographer and the use he makes of his theme. When photography fails... it is usually because a false separation has been imposed on form and content.

To me photography can be simultaneously both a record and a mirror or window of self-expression the camera is generally assumed to be unable to depict that which is not visible to the eye and yet, the photographer who wields it well can depict what lies unseen in his memory.

I never shot on sets, but if I was traveling somewhere or on location, I would always have my camera, and I'd always be - it's that kind of fly on the wall approach to photography, though. I don't engage the subject. I like to sneak around, skulk about in the dark.

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.

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.

I am a big fan of photography, more of being behind the camera - so when I get the opportunity to work with such great photographers, I always try and learn from their technique.

Camera 1.0 was film. Camera 2.0 was digital. 3.0 is a light-field camera that opens all these new possibilities for your picture taking.

The simple act of having a camera, not a cell phone, but a camera-camera, there’s a kind of a heightened perceptional awareness that occurs. Like, I could walk from here to the highway in two minutes, but if I had a camera, that walk could take me two hours.

For black folks, the camera provided a means to document a reality that could, if necessary, be packed, stored, moved from place to place... [Photography] offered a way to contain memories, to overcome loss, to keep history.

As I have practiced it, photography produces pleasure by simplicity. I see something special and show it to the camera. A picture is produced. The moment is held until someone sees it. Then it is theirs.

We used the camera only as a means of expression and as a visual medium that offers possibilities found in no other artistic technique, possibilities that the eye cannot catch in their totality. We tried to establish a characteristic vision of photography.

The act of photography is like going on a hunt in which photographer and camera merge into one indivisible function. This is a hunt for new states of things, situations never seen before, for the improbable, for information.

I love the luxury of the camera. The camera does so much for you. I like the secrets a camera can tell.

When the photographer is nearby, I like to say, 'Quick, get a photo of me looking into the camera,' because I'm never looking into the camera. Christopher Nolan looks into the camera, but I think most directors don't, so whenever you see a picture of a director looking at the camera, it's fake.

You see what you think, you see what you feel, you are what you see If with the camera you can make others see it - that is photography.

There is only you and your camera. The limitations in your photography are in yourself, for what we see is what we are.

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.

During photography's first decades, exposure times were quite long... So, similar to the drawings produced with the help of a camera obscura, which depicted reality as static and immobile, early photographs represented the world as stable, eternal, unshakable.

Photography to me is an addiction. I get jittery after a couple of days without a camera. Everyone who knows me says I'm happiest when I'm shooting.

After the war, photography came alive, in part because everybody started to use the 35mm camera, and worked on the street instead of in a studio, and that made an enormous difference in not only how photographs looked, but what they were about.