Top 1200 Fashion 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.

[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 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.

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.

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.

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.

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

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.

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.

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.

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

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.

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.

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.

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 think fashion is probably one of the most accessible and immediate forms of visual culture. In 1978, when I realized that I wanted to work on fashion, I had gone to Yale to get my Ph.D. in European cultural history. I suddenly realized fashion's part of culture, and I can do fashion history. All my professors thought this was a really bad idea, that fashion was frivolous and unimportant. And, increasingly over time, people have recognized that it provides such a mirror to the way we think, our values and attitudes.

... 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.

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.

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.

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.

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.

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 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.

The way men are seen in photography, in fashion, and the way that men look at pictures of themselves has changed in recent years. It is a subject that has come into focus: The masculine image, a man's personal style, changing attitudes to the male face and body.

Fashion is temporary; fashion is a race. What it's doing is giving you something that you say, "This is the outer wrapping of me." Style is something else. It's not quantifiable. Fashion is about selling. Fashion is about what's in. Style is independent of that; style is individual.

Photography obviously lends itself so well towards fashion. It's capturing that moment and that inspiration, and as a designer you are constantly walking through the world assimilating those visual references you have and so being able to solidify that into a photograph and keep it on your mood board is essential to creating a collection.

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

Photography has always been associated with death. Reality is colorful, yet early photography always took the color out of reality and made it black-and-white. Color is life; black-and-white is death. There was a ghost hidden in the invention of photography.

I'd like to see fashion slow down a bit. What freaks me out about fashion today is the speed - the speed of consuming, the speed of ideas. When fashion moves so fast, it takes away something I always loved, which is the idea that fashion should be slightly elusive. Hard to grasp, hard to find.

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.

I grew up around fashion - my mom was an editor for Vogue. Compared to the music industry, though, I'd say [fashion] is a little bit more disorganized. But it's exciting for me because, when you're a performer, there is a fashion element.

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.

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.

My grandfather is my biggest fashion critic. He takes a keen interest in the millennial fashion, most of which he disapproves of, but he is a very practical fashion critic.

Fashion is not art. Fashion isnt even culture. Fashion is advertising, and advertising is money. And for every dollar you earn, someone has to pay.

I like getting my ideas from the things of now. I am very conscious of the moment, of images that belong to this moment instead of another period. Fashion is really a reflection of our lives. You see women today and they don't do their hair up; they all wear their hair undone. So you have to reflect that in your photography .

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

I was obsessed with fashion when I was young. I thought fashion meant fashion design, and I thought I wanted to be a designer at some point.

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 always try to connect with what's happening in the world-reality, modernity, the 21st century, all that - and with Jil it started to feel very disconnected from the outside and how women were looking at fashion, experiencing fashion, interpreting fashion.

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.

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.

It was only when I began modeling at 18 that I really began enjoying fashion and reading any fashion magazine I could get my hands on, and developing a profound respect for designers, fashion and how to wear it.

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?

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.

I love all of these new products that are coming out, things like headphones with cute, catchy names. There is also so much going on with the marketing of fashion. And then, I still love the classic stuff, like great dresses and wonderful photography.

I worked in fashion for ten years, and like anyone in the fashion industry, even if you leave, you never leave fashion behind.

[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.

It was around the age of 18 when I started to feel like I had learned everything I could learn from being a model - modeling is a really incredible form of expression, but I got into modeling because I loved fashion so much and I really loved photography.

People thought this was a computer IT gig, and that will flow through those nerdy departments and it won't come into fashion photography, it won't come into television, it won't come into my daily communications, it won't come into my telephone, my microphone, my light control, my microwave radio, my - I mean, just name it.

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.

Every new Fashion is a refusal to inherit, a subversion against the oppression of the preceding Fashion; Fashion experiences itself as a Right, the natural right of the present over the past.

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.

Even though I love fashion and would love to be a fashion designer, I don't live and breathe fashion every day of my entire life.

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.

I have tried to bring about better communication between people. I believe that humanitarian photography is like economics. Economy is a kind of sociology, as is documentary 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 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.

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.

My deep relations with fashion started in Paris in 1980s, when I was appointed head of The Fashion History course at French Esmod fashion school, the biggest and the best in those years in Paris.