Top 537 Photographers Quotes & Sayings - Page 5

There's no great mystique to photography. A lot of photographers like to put their hands up to their forehead and tell you how they've suffered and so forth. Well, I just rent a car and drive to the place and take the pictures.

One day's exposure to mountains is better than cartloads of books. See how willingly Nature poses herself upon photographers' plates. No earthly chemicals are so sensitive as those of the human soul.

There are photographers who don't really engage with their subject. It's a really unfortunate phrase, but they take their photo and they leave with it. It works but I think it ultimately limits how profound the work can be.

On a typical day, walking down the street, there are a couple of photographers and then there get to be more and more. It's the most awkward thing, because you have to pretend that they're not there and it drives you nuts.

Many photographers are apt to confuse color with noise, and to congratulate themselves when they have almost blown you down with screeching hues alone-a bebop of electric blues, furious reds, and poison greens.

Photographers encode their concepts as photographic images so as to give others information, so as to produce models for them and thereby to become immortal in the memory of others.

These days, with 'American Idol' and all the other reality shows, young people become famous overnight, and that can be very difficult to handle, the way photographers follow you around and study your every move.

When I work as an art director, I don't ask to see sketches from illustrators or photographers. I give them a basic idea, and then I say, 'Send it to me, it'll be fine' - I get out of the way.

Most photographers would feel a certain embarrassment in admitting publicly that they carried within them a sense of wonder, yet without it they would not produce the work they do, whatever their particular field.

Some photographers take reality... and impose the domination of their own thought and spirit. Others come before reality more tenderly and a photograph to them is an instrument of love and revelation.

If the subject is in a suffering circumstance, it is all the more preferable to apply craft to the utmost. Call it art or not, we photographers should always try to pass on our observations with the utmost clarity.

Bikers, in general, have just been so attractive to people. Photographers would follow them because there's this weird warrior gravitas that comes with it. The bikes are loud, they have tattoos, they have artwork that they all wear on their jackets.

My job is very simply that of a photojournalist. I want to stop people's eye on the page, I want to move the viewer to laughter, to sadness, sometimes to wince - not to impress other photographers.

Photography's a case of keeping all the pores of the skin open, as well as the eyes. A lot of photographers today think that by putting on the uniform, the fishing vest, and all the Nikons, that that makes them a photographer. But it doesn't. It's not just seeing. It's feeling.

I began photographing in 1946. Before that, I was a painter and drawer, with my mother and father's support. They were a bit pissed when I went into photography. They thought photographers were guys who took pictures at weddings.

The Fox News that I know and work in is a team of producers, technicians, photographers, truck operators and production managers who barely have time to eat lunch, much less engage in bad behavior.

What my eyes seek in these encounters is not just the beauty traditionally revered by wildlife photographers. The perfection I seek in my photographic composition is a means to show the strength and dignity of animals in nature.

Photographers want to reinvent you, to take you somewhere else, to show you in a completely different way. They look at your previous work, and try to figure out what they can do to show a new side of you.

I've had my body manipulated so many different times for so many different reasons, whether it's paparazzi photographers or for film posters.

Photography is a tool to negotiate our idea of reality. Thus it is the responsibility of photographers to not contribute with anaesthetic images but rather to provide images that shake consciousness.

Nowadays everyone has a camera and the Internet means everything is instantly accessible. Unlike some photographers, I don't see this as a problem. If anything interesting happens in the world today, there will be someone around to record it.

To convulse reality from within, to demonstrate it as fractured spacing, became the collective result of all that vast range of techniques to which surrealist photographers resorted and which they understood as producing the characteristics of the sign.

I do find it strange, doing magazine shoots. Photographers always go, 'Why don't you like to have your picture taken? That's what you do for a living anyway. Just pretend you're acting. It's the same thing!'

Remember that most people (those who are not photographers) don't even see the things that you missed. Many don't even look. Ergo, you are way ahead of the game.

What's really important is to simplify. The work of most photographers would be improved immensely if they could do one thing: get rid of the extraneous. If you strive for simplicity, you are more likely to reach the viewer.

Many photographers are consumed with the idea of making beautiful contact sheets. I am far more interested in making the best final print I can.

I was looking at this picture of Brooke Shields at Studio 54 the other day. Everyone in the shot looks amazing because they have these black and white cameras with a flash. I think that's what photographers should go back to.

I need there to be documentary photographers, because my work is meta-documentary; it is a commentary about the documentary use of photography.

What happens is that every August photographers camp out in Hyannis Port. So anytime I go down to the beach, or go to the pier or whatever, there's no avoiding them.

I admire photographers that don't need a destination. In some ways, street photography is like that. There's a quality of wanderlust for sure in my work, but I need a destination.

When I'm approaching a water jump, with dozens of photographers waiting for me to fall in, and hundreds of spectators wondering what's going to happen next, the horse is just about the only one who doesn't know I am Royal!

There was a time when photographers were thought to be socially secondary, and, hence, not dangerous. Lincoln was more important than Brady. It didn't occur to anyone to worry about the manner in which a photograph was taken.

I think there a lot of great photographers working right now in the 2010. At the same time I do occasionally feel a great disappointment in some of the things that I see from certain people. But it is today.

He was very concerned about his children potentially being kidnapped or attached, and that's why they were covered up. When he went to Berlin zoo, there were 200 photographers.

Photography and photographers have an inevitable development. They progress more or less by steps. Every five or ten years some new point of view is developed and young people are inclined to follow it.

There are a lot of cameramen but not so many photographers. And a lot of cameramen attack from a technical approach without much imagination. They look, but they don't see.

I was one of Them: the Strange Ones. The Funny People. The Odd Tribes of autograph collectors and photographers. The Ones who waited through long days and nights, who used other people's dreams for their lives.

They often ask me to shoot for them. But I say no. I think an old guy like me ought not take pages away from young photographers who need the exposure.

Being a digital photographer I'm in awe of the older generation of photographers who created all those iconic cinematic style images on film, such as Man Ray's portrait of the photographer Lee Miller.

Photographers, along with dentists, are the two professions never satisfied with what they do. Every dentist would like to be a doctor and inside every photographer is a painter trying to get out.

I believe that photographs should be simple technically, and easy to look at. They shouldn't be directed at other photographers; their point is to make ordinary people react - to laugh, or to see something they hadn't taken in before, or to be touched. But not to wince, I think.

I think that it was a great advantage to go into photography not knowing much about it. Not thinking. I think one of the problems with many photographers today is that they never see for themselves, but just like everybody else.

Designers and photographers still want to work with me and I'm grateful for that. I don't know how long I'll carry on - as long as they'll have me.

It would drive the photographers crazy because I would giggle and tell jokes. I was gregarious, and looking back, I realize I had a captive audience.

During my lifetime I have met dozens of writers and photographers in dozens of different countries. But I have encountered no one who could both write and photograph with the artistry of Robert Vavra.

Great portrait photographers are great mythologists.

When I started Shutterstock, I tried to get people access to big events. It's very hard to keep up, to publish them quick, and to get the right photographers.

By some special graciousness of fate I am deposited - as all good photographers like to be - in the right place at the right time. Go into it as young as possible. Bring all the asset you have and play to win.

When I was in art school, the photo kids were separated from the rest. If you did sculpture or painting or graphic design, you were all taking the same classes, but the photographers just went straight into photography.

It's amazing to be able to work with people right at the top of whatever they do... inspiring photographers and stylists with very interesting visual language. The more I do it, the more I enjoy it.

Before he came to Spain, photographers lined up in the discotheques, but they are still there waiting for him. Ronaldo is an obsessive of training, of the gym, of self-improvement. I’ve never seen a player in such good physical condition. He’s a gladiator.

Outstanding past work in photography, and in fact in all the arts, is very important to today's photographers. But it should be used for inspiration and not for imitation. These works should be something to be built upon, not to be repeated.

Some photographers shoot hundreds of pictures in a row and you need to be able to move from pose to pose very quickly while trying to make it look effortless.

I see all these professional photographers out at the racetrack, and there's all these people across the world, taking really cool pictures and you're like, 'Man, I want to create that!' I had that mindset when I first grabbed a camera.

The photographers I worked alongside loved the news cycle and the hustle and getting that front page of the newspaper. But I wanted to be out in the field in conflict areas, documenting real life rather than political theater.

I don't want a gang of shouting, arguing, law-breaking photographers to camp out everywhere we are, all day every day, to continue traumatizing my kids.

I have a really hard time stepping out of a limousine and confronting a sh*tload of photographers who are all screaming at you, because it's like saying, 'yeah, yeah, here I am!'

A fashion photographer is nothing without clothes and hair and makeup. And when I speak to other photographers, a lot of them can't reference a picture by the designer. Me, I say, 'The Balenciaga.' And I go to the shows. I feel like it's my business.

A lot of people have done that over the years. Many of the agencies today were started by photographers. It's a normal progression. It wasn't some crazy idea, it was just, "Can we start our own agency? Can we do this?"

Magnum photographers were meant to go out as a crusade ... to places like famine and war and ... I went out and went round the corner to the local supermarket because this to me is the front line.