Top 1200 Camera And Photography Quotes & Sayings - Page 3

[Photography] remains servile to a thoughtless vision of the world... As the term snapshot suggests, photography seizes the moment and exhibits it.

I love photography... I'd like to write a show about photography.

The difference between an amateur and a professional photographer is that the amateur thinks the camera does the work. And they treat the camera with a certain amount of reverence. It is all about the kind of lens you choose, the kind of film stock you use… exactly the sort of perfection of the camera. Whereas, the professional the real professional – treats the camera with unutterable disdain. They pick up the camera and sling it aside. Because they know it’s the eye and the brain that count, not the mechanism that gets between them and the subject that counts.

Light-field photography is a transformational technology that needs a transformational product to introduce it. For the first time, we have a light-field camera that's going to be for everyone - not something in a huge room in a research facility.

For me photography was the means to the end, but they made it the most important thing. (On the discovery of X-ray photography.)

As a teenager, I loved acting, painting, photography, and making films with my friend's Super 8 camera. But I always loved writing the best. I chose writing even before I knew poetry was available to me.

There is no such thing as a good paparazzo. A good paparazzo, that's a paparazzo who has had his camera broken. In fact, they are bandits, thieves of photography. (Statement after photographs were published showing Jackie Onassis sunbathing nude.)

Photography, if there is photography, is already snapped, already shot, in the very interior of things and for all points of space.

Photography was inspired by painting, cinema by theatre and photography, I don't believe that any new art form was ever created from scratch.

Photography is Photography; And in it's purity and innocence is far too uniquely, valuable and beautiful to be spoilt by making it imitate something else.

'America 24/7' will be a landmark series in documentary photography and the watershed event of the new digital photography age.

I don't even like photography at all. I'm just doing photography until I can do something better.

When I was young, for some reason, I thought a postman's job was quite cool, and once, I even contemplated becoming a lawyer. Finally, I decided to dabble in something creative like fashion designing or photography. Till I joined college, I had no clue that one day, I will face the camera.

I never considered myself a good photographer. I still don't. I thought of myself as a hard worker. My camera was a sponge and I had an instinct that athletes have - anticipation. Photography really represents an enormous amount of anticipation - understanding what might be there the next moment and being prepared for it.

Real photography is a wonderfully inclusive, democratic medium, whereas art photography is more often a private pursuit by conmen.

Tactility was rejected in conceptual photography. I embrace the possibilities of my medium. Surface, texture, and tactility is something analog photography can do well, or it is something I can do well in analog photography. It can be hard to know what or who is in control.

Traditionally, photography has dealt with recording the world as it is found. Before photography appeared the fine artists of the time, the painters and sculptors, concerned themselves with rendering reality with as much likeness as their skill enabled. Photography, however, made artistic reality much more available, more quickly and on a much broader scale.

I’m more interested in a photography that is ‘unfinished’ - a photography that is suggestive and can trigger a conversation or dialogue. There are pictures that are closed, finished, to which there is no way in.

As an avid photographer, I also took advantage of the latest technology in photography - digital photography - to post photos on my website on a daily basis.

I am a former economist. I never went to photography school to learn photography.

My aim in photography is always to convey a mood and not to impart local information. This is not an easy matter, for the camera if left to its own devices will simply impart local information to the exclusiveness of everything else.

I'd like to use IMAX. The problem with IMAX is that it's a very loud camera. It's a very unreliable camera. Only so much film can be in the camera. You can't really do intimate scenes with it.

The enemy of photography is the convention, the fixed rules of 'how to do'. The salvation of photography comes from the experiment.

The camera is one of the most frightening of modern weapons, particularly to people who have been in warfare, who have been bombed and shelled for at the back of a bombing run is invariably a photograph. In the back of ruined towns, and cities, and factories, there is aerial mapping, or spy mapping, usually with a camera. Therefore the camera is a feared instrument, and a man with a camera is suspected and watched wherever he goes... In the minds of most people today the camera is the forerunner of destruction, and it is suspected, and rightly so.

Photography's relationship with pornography is as old as photography. That kind of unholy relationship is formed from the very beginning, and there's a reason why: it's thoroughly enjoyable to be that voyeuristic. Voyeurism is a very old modality, and most of the history of photography is in some way related voyeurism.

I like pointing the camera at the actors and letting them fight. Don't let the camera do the fighting for you, and don't let the camera give them the adrenaline hit. Let the people in the frame do that.

The digital camera takes photographs in practically no light: it will dig out the least bit of light available. I was amazed to see the results of photographs that I wouldn't take ordinarily. That's the advantage of digital photography.

I chose makeup over photography because there was something very sensual about makeup that I loved. But photography was always in the back of my mind. That was always something that I was very connected with: looking at magazines, enjoying photography, and then taking pictures myself when I was a kid.

Photography promises an enhanced mastery of nature, but photography also threatens conflagration and anarchy.

Photography is usually viewed as a solitary activity, but the truth of the matter is that people love to shoot together, compare notes, and just have fun with photography.

Since high school, I've always been super into photography. I event went to Valley College for photography.

I have received the digital camera as a blessing. It has really changed my life as a filmmaker, because I don't use my camera anymore as a camera. I don't feel it as a camera. I feel it as a friend, as something that doesn't make an impression on people, that doesn't make them feel uncomfortable, and that is completely forgotten in my way of approaching life and people and film.

Photography is painting with light! The blurs, the spots, those are errors! But the errors are part of it, they give it poetry and turn it into painting. And for that you need as bad a camera as possible! If you want to be famous, you have to do whatever you're doing worse than anyone else in the whole world.

Traditionally, photography is supposed to capture an event that has passed; but that is not what I'm looking for. Photography brings the past into the present when you look at it...

War is the easiest photography in the business. Just get close, be lucky, know how your camera works. There are subjects everywhere. Everyplace you go, there is something to photograph in a war, like being in the middle of a hurricane or a train crash or an earthquake. You can't miss it.

It's good to be around people who see [photography] as a reasonable enterprise when everyone in the neighborhood may think it's ridiculous. (On the benefit of teaching photography)

I seem to be always returning to photography in my poetry. I guess you could say that I'm documenting the personal history and relationship I have with photography.

Color was the palette of commercial photography and snapshot photography.

Photography has always been a passion of mine, but I began to study light field photography when I was in the Ph.D. program at Stanford University.

The dominant problem of pictorial art since the nineteen-fifties is photography, and, by extension, film and video. The basilisk eye of the camera has withered the pride of handworked mediums. Painting survives on a case-by-case basis, its successes amounting to special exemptions from a verdict of history.

I assumed from the outset that photography was already art, and that I and other people working in photography were artists. I understand now that this was a minority point of view.

What is important is for me to do my best work on camera. The camera is inches away from you and sees every micromovement of every muscle of your eye. And if you're not relaxed, the camera sees it.

I've been the head of the photography program at Bard College for over 30 years, and I take that as seriously as I do my photography. My time is devoted to that too.

Photography sees surfaces, it doesn't see space. We see space but the camera doesn't.

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.

I didn't do well in high school, but I took photography, and I loved being able to capture moments. It led to more and more photography, and fashion was the angle into photography for me. It was incredible to see photographs by Irving Penn or Helmut Newton. I was really intrigued by that, and that's what led me to New York City.

Photography was a blessing because it filled my time. If I had to start over, I'd pursue photography - probably to the exclusion of acting.

The camera does not know what it takes; it captures materials with which you reconstruct, not so much what you saw as what you thought you saw. Hence the best photography is aware, mindful, of illusion and uses illusion, permitting and encouraging it - especially unconscious and powerful illusions that are not usually admitted on the scene.

The joy for me of television is the sort of family feeling of being involved with an ensemble - the cast and the crew and the director of photography and the guys in the camera truck - and you're all coming together. There's a great feeling when that is a successful unit, a successful family.

Of course I will continue photography. I love photography. But when you become old, it's too much.

Photography begins not in the camera but in the mind and the eye. The real work is one of noticing and appreciating, seeing things clearly and differently, and sharing that vision with others. I have developed my vision and my photographic craft in order to bring the beauty of nature to light in a fresh way that can inspire and nourish people.

Composition in photography is almost as varied as composition in music or words -- melodic or atonal, safe or daring -- and can enhance subject, theme, and style. Every photograph you take involves you in some compositional decision, even if this is simply where to set up the camera or when to press the button.

When you use film, you use accidents, but there aren't any accidents with digital photography. I don't mind that it's easy. But I do mind that there is a sort of consensus with the camera and the subject and the light, and you look at something, and you photograph it, and you get what you see.

Traditionally, photography is supposed to capture an event that has passed; but that is not what I'm looking for. Photography brings the past into the present when you look at it.

For a period of time, I carried cameras with me wherever I went, and then I realized that my interest in photography was turning toward the conceptual. So I wasn't carrying around cameras shooting stuff, I was developing concepts about what I wanted to shoot. And then I'd get the camera angle and do the job.

It is said that the camera cannot lie, but rarely do we allow it to do anything else, since the camera sees what you point it at: the camera sees what you want it to see.

It has been important to me, as an historian of photography, to understand photography by photographing.

For a period of time, I carried cameras with me wherever I went, and then I realized that my interest in photography was turning toward the conceptual. So I wasn't carrying around cameras shooting stuff, I was developing concepts about what I wanted to shoot. And then I'd get the camera angle and do the job

To me, traditional approaches to doing photography and thinking about photography feel increasingly anachronistic.

If it doesn’t have ambiguity, don’t bother to take it. I love that, that aspect of photography - the mendacity of photography. It’s got to have some kind of peculiarity in it, or it’s not interesting to me.