Top 995 Photographer Quotes & Sayings - Page 13

With chemical film, it was possible to alter photographs, but you had to be an expert. That's not true any more. The LA Times fired a photographer at the beginning of the Iraq War for editing two shots together. Photography is crumbling. Certainly it is for the newspapers a bit now, isn't it? There will be painting again, absolutely!

I used to want to be a war photographer, and I used to want to be a ballerina and a comedian. I used to want to be a writer. I invalidated myself; it's a mistake for me.

My mom had a Canon AE1 camera and I read the manual and that's basically how I became a photographer. I was in the Baltimore punk scene. I knew it was a special time, so I went out and documented that whole era. I was the only person to really do it of my friends in real black and white, beautiful portraits.

From Matthew Brady and the Civil War through, say, Robert Capa in World War II to people like Malcolm Brown and Tim Page in Vietnam. There was, seems to me, a kind of war-is-hell photography where the photographer is actually filming from life.

There is more in art, with an apology to that much abused word, as applied to photography, than startling display lines, on mounts and signs announcing artist Photographer, Artistic Photography Studio, etc., and the lower the standard the more frantic the claim.

Being called a dance photographer makes me bristle. You might say that dance is my landscape. The root of my interest is movement or, rather, how movement can be interpreted photographically, and dance provides a perfect opportunity for this.

I'm married to Kevin, a photographer whose career has put him on the campaign trail with presidential candidates and sent him on assignment to far-flung places for long periods of time. It was sometimes rough when our children were small, and I was beginning to write in earnest.

Africa is mystic; it is wild; it is a sweltering inferno; it is a photographer's paradise, a hunter's Valhalla, an escapist's Utopia. It is what you will, and it withstands all interpretations. It is the last vestige of a dead world or the cradle of a shiny new one. To a lot of people, as to myself, it is just 'home'. It is all these things but one thing - it is never dull.

Photographs will always be impressive because they show us nature, and all artists will find in them a world of sensations. The photographer must therefore intervene as little as possible, so as not to cause photography to lose the objective charm which it naturally possesses, notwithstanding its defects.

Photography is like a found object. A photographer never makes an actual subject; they just steal the image from the world... Photography is a system of saving memories. It's a time machine, in a way, to preserve the memory, to preserve time.

The photographer begins to feel big and bloated and so big he can't walk through one of these doors because he gets a good byline; he gets notices all over the world and so forth; but they're really - the important people are the people he photographs.

Through a portrait, we can potentially see everything — the history and depth of a person's life, as well as evidence of a primal universal presence. I have dedicated my life and creative energy to capturing these transcendent moments in which a connection is made between the subject, the photographer, and the viewer.

After his hockey days, my dad became a photographer, and a really good one, at that. He used to shoot the Expos and Canadiens, and he'd give me five bucks to haul around his equipment during games. He never had to ask me twice to do it.

I found it very helpful not to do the venture round. Instead, I started with very little money, a few thousand dollars, and I did every job myself. I was the first photographer. I was the first customer service rep. I was the first online marketing person.

I never knew anyone who came close to Marilyn in natural ability to use both photographer and still camera. She was special in this, and for me there has been no one like her before or after. She has remained the measuring rod by which I have - unconsciously - judged other subjects.

There are photographic fanatics, just as there are religious fanatics. They buy a so-called candid camera there is no such thing: it’s the photographer who has to be candid, not the camera.

Up to and including the moment of exposure, the photographer is working in an undeniably subjective way. By his choice of technical approach, by the selection of the subject matterand by his decision as to the exact cinematic instant of exposure, he is blending the variables of interpretation into an emotional whole.

It fascinates me that there is a variety of feeling about what I do. I'm not a premeditative photographer. I see a picture and I make it. If I had a chance, I'd be out shooting all the time. You don't have to go looking for pictures. The material is generous. You go out and the pictures are staring at you.

The awareness of the quality of space in out photos is akin to our awareness of the very air in our photos, the atmosphere that pervades every square inch of our image and yet is often invisible to the photographer.

I think Bigfoot is blurry, that's the problem. It's not the photographer's fault. Bigfoot is blurry, and that's extra scary to me. There's a large, out-of-focus monster roaming the countryside. Run, he's fuzzy, get out of here.

I think there can no longer be such a thing as hitting a wall on a photo shoot. If I ever hear a photographer say to me, 'OK, what else?' I should retire, because that should never happen now having experienced just how much the body is capable of doing.

...insight, vision, moments of revelation. During those rare moments something overtakes the man and he becomes the tool of a greater Force; the servant of, willing or unwilling depending on his degree of awakeness. The photograph, then, is a message more than a mirror, and the mans a messenger who happens to be a photographer.

I'm just like a photographer or a director. Of course I have an opinion, but I don't think my opinion, or what I want to say... is so obvious 'cause that's not my job. My job is just to give a point of view, not more than that.

Whether you are Minor White or Robert Frank, almost every photograph starts with an act of pure description - a window. But every now and then you catch a glimpse of the photographer's reflection. The mirror is just another function of the window.

To me, that is the essence of me as a photographer. It is those ideas, working with them, formulating them and eventually putting them down on paper, photographing them and then going on to the next step.

What a photograph shows us is how a particular thing could be seen, or could be made to look - at a specific moment, in a specific context, by a specific photographer employing specific tools.

It 2001 when we started. But prior to that, I had made this website called sundancepics.com, where me and this other photographer, Randall Michelson, could sell our images from Sundance online and it was successful. Steve Granitz, who's my main partner at WireImage, we were already working together, and I was like, "Look dude, this is it. We can do this."

If Caravaggio was a photographer today, I would love to work with him. I love his dark vision - I have a dark vision.

I'm a photographer and my pictures are used in advertising campaigns. But I don't do advertising. Do you hear me? I take pictures. I'm not an advertising agency. I'm not an advertising man.

In some areas, [Getty Images has] more images than the rest of the market put together. But libraries are being built up at a terrific pace. A photographer in a lifetime will produce maybe a million images, and there are about 15,000 professionals at work out there.

If the photographer is to create works that will stand for his spirit in the same way as artists in other genres, he must first - having no ready-made, abstract components such as works and sounds - supply other means to abstraction instead.

I went on tour with the Rolling Stones in 1972 for two or three cities. And in 1975, I was the tour photographer for the Rolling Stones. I hung onto my camera for dear life. Because it scared the hell out of me.

Because of reality television and all these celebrities thinking they can be designers, everyone imagines that they can just become a designer, photographer, or model, but that's not the way things work. People have to go to school, learn their craft, and build a brand - that's the right, healthy way to do things.

One of my basic feelings is that the mind, and the heart alike, of the photographer must be dedicated to the glory, the magic, and the mystery of light. The mystery of time, the magic of light, the enigma of reality - and their interrelationships - are my constant themes and preoccupations.

I hate to say I'm a photographer, because I learned photography as I went along. But I also hate to say I'm a painter, a draftsman, even an artist. I think it's good when you're confused about what you are; it means you haven't defined yourself as an artist yet.

My mother was a famous photographer for actresses, including Sophia Loren, Gina Lollobrigida, and so many. I remember I went to school close to my mother's studio, and for years, I went to the studio after school and just watched how she captured these beauties.

[Elsa Dorfman]was well known. Certainly in the Boston area, she's well known as a portrait photographer. My wife always wanted to meet her and then there was some benefit where she was taking pictures.

If I ever feel like, 'Oh, my life!' or get upset by silly things like a photographer, or if someone has written something nasty that's upset me, I just think, 'Worse things happen at sea.'

When everything that is called art was well and truly riddled with rheumatism, the photographer lit the thousands of candles whose power is contained in his flame, and the sensitive paper absorbed by degrees the blackness cut out of some ordinary object. He had invented a fresh and tender flash of lightning.

I was born in the Bay Area because my dad was a semi-professional photographer and poet who was really into John Coltrane. He's had many lives. My dad's a capitalist to his bone, but he's also a human to his bone.

I really enjoy behind the camera stuff and I'm a frustrated photographer myself and just love the camera. I love that side of it and that part of the filmmaking world and I enjoy developing things. It's an area that I'll continue to be more active in as time goes by.

The photographer in my head says: Give me peace. Flash. Give me release. Flash.

The truth is, the difference between a studio photographer and a photojournalist is the same as the difference between a political cartoonist and an abstract painter; the only thing the two have in common is the blank page. The jobs entail different talents and different desires.

[Robert] Capa: He was a good friend and a great and very brave photographer. It is bad luck for everybody that the percentages caught up with him. It is especially bad for Capa. (On Capa's death in Vietnam, May, 27, 1954)

The artist is always concerned with a total view of the world. However, when the photographer takes a picture ... the edge of his picture is just as interesting as the middle, one can only guess at the existence of a whole, and the view presented seems chosen by chance.

I have been frequently accused of deliberately twisting subject matter to my point of view. Above all, I know that life for a photographer cannot be a matter of indifference. Opinion often consists of a kind of criticism. But criticism can come out of love.

It takes a lot of imagination to be a good photographer. You need less imagination to be a painter because you can invent things. But in photography everything is so ordinary; it takes a lot of looking before you learn to see the extraordinary.

My friend Danny Clinch, who's a photographer, gave me a big, signed, numbered print of a photo he took of Eddie Vedder in Seattle. It's hung in my writing room where I have posters of writers that inspire me. They're all pointing at me. Tom Waits is like, 'Don't sell out!'

...[the photographer] can be considered a kind of disembodied burrowing eye, a conspirator against time and its hammers. His work, print after print of it, seems to call to be shown before the decay which it portrays flattens all... Here are the records of the age before an imminent collapse.

My mom's an artist in every way. She's a painter, a photographer. She's a wanderer - always searching, always seeing. I guess you could say my mom gave me her eyes.

It is very hard to say where you're going until you get there. That kind of thing is based very much on instinct. As a photographer, one of the most important lessons I have learnt is that you have to learn to listen to and trust your own instinct. It has helped to guide me - this far at least.

[To a photographer who said, 'Look this way, love':] I am not your 'love.' I am Your Royal Highness!

I think that I was lucky that I was 30 when I did 'Love Story', which came with this extravagant pop celebrity. I had already done 15 years of what I call 'real' work.' I was a waitress, chambermaid, and a photographer's assistant, so I knew that I was tremendously lucky as a novice actor to have that big hit.

Max Kozloff said to me one day, ‘You’re not really a photographer. You do photography, but you do it for your own purposes – your purposes are not the same as others’. I’m not quite sure what he meant, but I like that. I like the way he put it.

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.

If I hadn't become a photographer, I would have loved to become a doctor. I would have loved to have done something that actually helped people and changed their lives.

Recording sessions were stimulating to photograph, because everything was in motion: the subject, the musicians, the technicians and the photographer. You needed fast reflexes to keep up with moving targets, and sensitivity and skill to get the pictures while keeping out of the performers' eyeline so as not to break their concentration.

I go back and forth, but I never wanted to be the photographer of the gay and lesbian community. I will wave a rainbow flag proudly, but I am not a singular identity. I think a singular identity isn't very interesting, and I'm a little bit more multifaceted as a person than that.

I never wanted to be called an artist. I wanted to be called a photographer.

I agree that all good photographs are documents, but I also know that all documents are certainly not good photographs. Furthermore, a good photographer does not merely document, he probes the subject, he 'uncovers' it.