Top 41 Darkroom Quotes & Sayings

Darkroom: A Memoir in Black and White is remarkable for its truth-telling about two important issues concerning Alabama's past and present: the civil rights movement and immigration. These stories, rendered through the words and eyes of a young Latina girl who came from Argentina to Marion, Alabama, are made vivid and immediate through Weaver's highly accessible drawings and dialogue. This is a book-about maturation, family, education, and social change-every schoolchild, parent, and citizen should experience.

Darkroom work had, after all, never interested me except as a means to an end; the place I wanted to be was outside in the light.

Fear is the darkroom where negatives are developed.

The inner chambers of the soul are like the photographer's darkroom. Like a laboratory. One cannot stay there all the time or it becomes the solitary cell of the neurotic.

There's something magical still about it when I get in a darkroom, and you've shot a roll of film and you develop it and you look at your negatives, and there's like imagery there. That always stuns me.

It's more fun if you can control things like lighting and make special effects in the darkroom.

Then I thought I was going to be a photographer. I tried a hand at darkroom technician. I played in a band. It took me quite some time to discover that I wanted to write.

I still don't understand why when you put a piece of paper in a tray with solution in it, it comes up. It's still, in a sense, magic to me. It's a funny thing, you know. I've got two kids, and when they were very young, they used to come in the darkroom and I thought they'd be astounded by that. Nothing. When they got a little older, then they got astounded by it.

It was amazing to watch him in the darkroom at an advanced age, still get excited when the results were pleasing. He still struggled like we all do in the darkroom and he struggled behind the camera, and when he had a success he was beaming.

Don't get between me and a really good picture in the darkroom, because then I want to go straight to the darkroom and develop it. But once that's done, I'm fine.

I discovered that I could do whatever I wanted with a negative in a darkroom and an enlarger.

When I'm about ready to press the cable release on the View camera, I've tried to anticipate some of the challenges I'm going to encounter in the darkroom.

I am sending back the key that let me into bluebeard's study; because he would make love to me I am sending back the key; in his eye's darkroom I can see my X-rayed heart, dissected body: I am sending back the key that let me into bluebeard s study.

I was born in Seoul, South Korea; then I moved to New York City at the age of seventeen. In New York, I studied art and photography. I thought I would be a painter; then I saw Walker Evans when I was in college, and that had a great impact on me. Being in the darkroom making B&W prints was such a magical experience.

My father taught me photography. It was his hobby, and we had a small darkroom in the fruit cellar of our basement. It was the kind of makeshift darkroom that was only dark at night.

A photographer needs to be a good editor of negatives and prints! In fact, most of the prints I make are for my eyes only, and they are no good. I find the single most valuable tool in the darkroom is my trash can - that's where most of my prints end up.

I never stopped photographing. There were a couple of years when I didn't have a darkroom, but that didn't stop me from photographing.

It's equally hard and labor intensive to create an image on the computer as it is in a darkroom. Believe me.

I read like a crazy person, I play the piano, and I'm a photographer. I always say my photography keeps me sane. I spend a lot of time in the darkroom. It's a very solitary, quiet life when I'm not working.

I find the single most valuable tool in my darkroom is my trash can

For me the printing process is part of the magic of photography. It's that magic that can be exciting, disappointing, rewarding and frustrating all in the same few moments in the darkroom.

To convey in the print the feeling you experienced when you exposed your film – to walk out of the darkroom and say: ‘This is it, the equivalent of what I saw and felt!’. That’s what it’s all about.

I told myself, 'When I grow up, I want to make pictures that can inspire and nourish people.' Immediately, when I was 10, I started photographing nature. I built a darkroom. My first really good darkroom, not just down in the cellar, was when I was 14.

The darkroom is just the means to an end.

I've found even after nearly 30 years of doing this, there are all kinds of new surprises that rear their heads at various times and I truly believe that 51% of the images, success takes place in the darkroom.

I was digging in the backyard to get my own clay and making pottery. And then I started taking pictures and built my own darkroom. I would go out at six in the morning and just take pictures.

Something happens between a novel and its reader which is similar to the process of developing photographs, the way they did it before the digital age. The photograph, as it was printed in the darkroom, became visible bit by bit. As you read your way through a novel, the same chemical process takes place.

The boy I was crazy about was super into photography, so I weaseled my way into AP Photo to impress him and spend more time with him. He never liked me back, but I ended up spending most my senior year in the darkroom - it became a sort of safe haven for me.

I've been a photographer all these years... I haven't been in my own darkroom for 10 years.

There's something magical still about it when I get in a darkroom, and you've shot a roll of film and you develop it and you look at your negatives, and there's, like, imagery there. That always stuns me.

Technology has eliminated the basement darkroom and the whole notion of photography as an intense labor of love for obsessives and replaced them with a sense of immediacy and instant gratification.

I still do all my developing and printing in my darkroom. Being in New York, you get tremendous exposure to great arts. In my student years, I saw exhibitions of August Sander and Diane Arbus. I still go back to their pictures. I don't really go for contemporary photo shows.

You know what 'FEAR' stands for? It stands for 'False Evidence Appearing Real.' It's the darkroom where Satan develops his negatives.

Cameras always were seductive. And then a darkroom became available, and that's when I stopped doing anything else.

I had gone to nursing school at Northampton Community College in my hometown of Bethlehem, Pennsylvania. And nursing didn't feel quite right, and an old boyfriend gave me a 35-millimeter camera just to play with. So, I took a darkroom class.

I believe Photoshop is in some way the contemporary darkroom, the creative area that all photographers have available today.

I fell in love with the darkroom, and that was part of being a photographer at the time. The darkroom was unbelievably sexy. I would spend all night in the darkroom.

I was on the yearbook staff, so I would take out film cameras and Nikons and take photos around school and at sporting events and things like that. We had a darkroom as well. I just loved it. I also saved up for a video camera to video my friends and cut and paste the videos together and I gave them to all of my friends for graduation.

I'm not against digital photography. It's great for newspapers. And there are photographers doing great work digitally. When they use Photoshop as a darkroom tool, that's fine, too. But at this point of my life, after so many years, I don't really want to change, and I still love film.

My lifestyle is bizarre, but the only thing you need to know is where the darkroom is.

It was soon evident in my lodgings that I had become a dangerous lunatic, and there would be nothing left to destroy if strong measures were not taken. So I was turned out of the house, but it was only into the garden, where I was allowed to build a small darkroom of oilcloth.