Top 1200 Color Photography Quotes & Sayings - Page 3

There's this idea that photography is a kind of testimony and therefore we're forbidden to tell lies with it. I think that's nonsense. Photography isn't testimony.

What makes [photography] obscene is its terrible cruelty. Happiness may be fleeting, but it's the reason we go on living. Photography is the joy that precedes pain, the moment of life just before death.

I think photography has a huge potential to expand a circle of knowledge. There's a reality that we are all the more linked globally and we have to know about each other. Photography gives us that opportunity.

Landscapes, heads and naked women are called artistic photography, while photographs of current events are called press photography.

Candy apple red is my favorite color. It's a powerful color to wear. It's always been that way - I've always been really attracted to that color.

It's entirely ridiculous and hopeless to try to compete with somebody who made such a huge contribution to photography... I knew when I went into photography that I would be compared to my mother. I thought to myself, what can I do about that?

Without my photography life would be boring. Photography adds an extra dimension to my life. Somehow it confirms my place in the world

Drawing and color are not separate at all; in so far as you paint, you draw. The more color harmonizes, the more exact the drawing becomes. When the color achieves richness, the form attains its fullness also

In a world and a life that moves so fast, photography just makes the sound go out and it makes you stop and take a pause. Photography calms me.

I suppose the most marked example of color as structure is in the Byzantine use of mosaic decoration that becomes architecture. The decoration of the interiors so related to the form that they fuse. In less elaborate interior design this is always the ideal approach to color - used not only as just color alone.

We could teach photography as a way to make a living, and best of all, somehow to get students to experience for themselves photography as a way of life.

In India, you see the way they embrace color in the culture - it's very celebratory of the existence of color. There's no rule of what color belongs together or doesn't belong together. They're not precious about it. It's very full-on.

The traditional difficulty of balancing the mechanical with the imaginative schools of photography still operates. In schools of photography meaningful art education is often lacking and on the strength of their technical ability alone students, deprived of a richer artistic training, are sent forth inculcated with the belief that they are creative photographers and artists. It is yet a fact that today, as in the past, the most inspiring and provocative works in photography come as much (and probably more) from those who are in the first place artists.

As the possibilities for straightforward photography seem to have become exhausted it has been the photographers who know about the history of art, not simply the history of photography, who have shaped important directions for the future.

I realized that one of the differences between news photography and dance photography was that the former has to tell a specific story, whereas all a dance photograph had to be was visually interesting.

Perfect love is to feeling what perfect white is to color. Many think that white is the absence of color. It is not. It is the inclusion of all color. White is every other color that exists, combined. So, too, is love not the absence of an emotion (hatred, anger, lust, jealousy, covetousness), but the summation of all feeling. It is the sum total. The aggregate amount. The everything.

Painting from life is a completely different monster, which I like. But because I've been painting from photography for so long, I've learned my best moves from photography.

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)

I became interested in photography during my first visit to the United States. I was a student at a university in Holland. I was overwhelmed by the beauty of the American West. That was when I learned about the tradition of nature in American photography.

In most of my photographic pieces I have manipulated the quality of the evidence that people assign to photography, in order to subvert it, or to show that photography lies - that what it conveys is not reality but a set of cultural codes.

Photography is more than a window for me. Photography is more like a space that tries to capture situations.

'Color-blind' comes up - people say 'Oh, I'm color-blind and therefore can't be accused of racism,' but I think that if we are going to have an honest dialogue about racism, we have to admit that people of color are having a different experience.

I'm not a girl to wear a lot of bright color, but including a touch of color can pull an outfit together. I'm from New York and wear a lot of black, and color is refreshing.

Always been purple. Like I remember being in the first grade, looking up at the color charts, and saying, 'Man, purple is the best color, man, it's the best color, it just is the best color.' I have a lot of purple shirts and stuff, I'm always wearing purple.

Color is a very personal thing. You need to make sure to choose a color that makes you happy. But I don't recommend accent walls - choose a color you can live with on all four walls.

In photography we possess an extraordinary instrument for reproduction. But photography is much more than that. Today it is [a method for bringing optically] some thing entirely new into the world.

Photography brought a lot to painting because it forced artists to think about what painting could do that photography couldn't.

In the work of Seurat, you can see the dots of neutral colors carrying the form and then the dots of more intense color that make the color texture. It is a totally different principle that than of the Impressionists who used broken color to imitate visual effect.

In teaching color, you teach people how to look something and see the tone in it and break it down to be able to paint it and reproduce that color. But then, I'm psychedelic, so I look at color differently. I like colors that are in contrast with one another, so that they flicker back and forth.

In fact, I probably learned more about photography from studying black-and-white photography in those magazines [Look Magazine and LIFE Magazine] than I did from watching movies here. That's the truth.

It trips me out when I hear people say, 'Well, I don't see color.' You see color. Now, how you respond and how you handle the situation once you've seen and noticed color is different.

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.

Contemporary art photography, or, more specifically, what I would term mainstream art photography, represents for the most part the mining of an exhausted lode.

I never liked photography. Not for the sake of photography. I like the object. I like the photographs when you hold them in your hand.

[Photography is ] likewise even French impressionists. So the Sculls bought pop. It was politics, and they moved with it. And I think that could be happening, to some degree, with photography, too. It doesn't cost as much to do it, either.

[I]n general, my work is less about expanding the possibilities of photography than about re-investing it with a truer perception of things by returning to a simple method, one that photography had from the beginning of its existence.

Photography really is all about lines, and so is clothing. I worked for Oberto Gili for a couple of years after I was at ICP; we worked in fashion, travel, interior design, everything. I was inspired by his styling choices within fashion photography, and I think those experiences helped steer me towards fashion design. I love photography as a medium, so I think I will always take inspiration from it.

... photography is just a medium. It's like a typewriter. Photography as an art doesn't interest me an awful lot; as a participant, though I like to look at it.

If I photograph you I don't have you, I have a photograph of you. It's got its own thing. That's really what photography, still photography, is about.

I think when you look at architectural photography it doesn't help to have piles of old clothes lying on the floor. Architectural photography sets up an artifice.

Here is a paradox. It would seem that there cannot be surrealism and photography, but only photography or surrealism.

Photography's ability to blur truth and fiction is one of its most compelling qualities. But when misused... this ambiguity can have severe, even lethal consequences.... Photography's ambiguity, beautiful in one context, can be devastating in another.

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.

I never felt in competition with anybody in war photography. You're lucky to get your ass in and out again. It's as simple as that. It's the easiest photography in the world to shoot somebody who's been shot up. It doesn't take a genius. That's easy. The only thing you need to know is your photography. Get in and if you're lucky get out. And get as close as you can get.

Some have said that if you take a great picture in color and take away the color, you'll have a great black-and-white picture. But if you're shooting something about color and you take away the color, you'll have nothing.

We think of color as a thing that we’re receiving. And if you go into one of the Skyspaces, you can see that it’s possible to change the color of the sky. Now, I obviously don’t change the color of the sky, but I changed the context of vision.

The photography is not the aim of the work; the articulation of the work through photography is another way of understanding what's going on and what's happening outside.

I find it some of the hardest photography and the most challenging photography I've ever done. It's a real challenge to work with the natural features and the natural light.

If I didn't have a conviction that a serious painter can portray Nature more profoundly than the best colour photography, I'd probably give it all up or go abstract or take up photography.

The fundamental issue is one of emphasis: you are not a photographer because you are interested in photography...The reason is that photography is only a tool, a vehicle, for expressing or transmitting a passion in something else. It is not the end result.

I was extremely irritated being photographed for a long time, then I gave up caring. Photography is a nauseating cliche, but there is a lot to it. You can tell so much about a person from it. You are exaggerating the consciousness. It's life-thickening, 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 wanted to be a scientist. I did a thesis on lions. But I realised photography can show things writing can't. Lions were my professor of photography.

My paintings have an ongoing dialogue with photography. There are many painters who would say the same, I'm sure. The difference is that I'm thinking more about the temporal aspect of photography, rather than the visual.

I believe there is no more creative medium than photography to recreate the living world of our time. Photography gladly accepts the challenge because it is at home in its element: namely, realism - real life - the now.

Since photography gives us every guarantee of exactitude that we could desire (they really believe that, the mad fools !), then photography and art are the same thing.

Photography has been a passion of mine since I was 15. After my kids were born I found myself incorporating my photography into different art endeavors and from there it just blossomed.

Originally, one of the reasons I was drawn to photography, as opposed to painting or sculpture or installation, is that of all the arts it is the most democratic, in so far as it's instantly readable and accessible to our culture. Photography is how we move information back and forth.

...they told me of color, that it was an illusion of the eye, an event in the perceiver's mind, not in the object; they told me that color had no reality; indeed, they told me that color did not inhere in a physical body any more than pain was in a needle. And then they imprisoned me in darkness; and though there was no color there, I still was black, and they still were white; and for that, they bound and gagged me.

I started photography more or less by accident when I was already 27. I was taken on as an assistant by a photographer who was a friend of a friend and I very quickly understood the potential of expression in photography.