Top 260 Photographic Quotes & Sayings - Page 5

My first pieces, in an art context, were ways to get myself off the page and into real space. These photographic pieces were ways to, literally, throw myself into my environment. They were photographs not of an activity, but through an activity; the activity (once I planted a camera in the instrument of that activity - once I, simply, held a camera in my hands) could produce a picture.

The photographic enthusiast likes to lure us into a darkened room in order to display his slides on a silver screen. Aided by the adaptability of the eye and by the borrowed light from the intense projector bulb, he can achieve those relationships in brightness that will make us dutifully admire the wonderful autumn tints he photographed on his latest trip. As soon as we look at a print of these photographs by day, the light seems to go out of them. It is one of the miracles of art that the same does not happen there.

To know whether photography is or is not an art matters little. What is important is to distinguish between good and bad photography. By good is meant that photography which accepts all the limitations inherent in photographic technique and takes advantage of the possibilities and characteristics the medium offers. By bad photography is mean that which is done, one may say, with a kind of inferiority complex, with no appreciation of what photography itself offers: but on the contrary, recurring to all sorts of imitations.

My studio works in cycles. I am consistent with all of the practices, but I give attention to one part for a certain amount of time. I say, "Okay, I'm making performances," and sometimes that means I can't be making photographic works. As I'm maturing as an artist, years have passed and I feel that I'm becoming a better craftsperson in multiple fields, but that takes time. Also, because I trained as an actor, I hold this thing about how an actor prepares and therefore I try to prepare for all of my tasks.

In common with other artists the photographer wants his finished print to convey to others his own response to his subject. In the fulfillment of this aim, his greatest asset is the directness of the process he employs. But this advantage can only be retained if he simplifies his equipment and technic to the minimum necessary, and keeps his approach from from all formula, art-dogma, rules and taboos. Only then can he be free to put his photographic sight to use in discovering and revealing the nature of the world he lives in.

I suspect it is for one’s self-interest that one looks at one’s surroundings and one’s self. This search is personally born and is indeed my reason and motive for making photographs. The camera is not merely a reflecting pool and the photographs are not exactly the mirror, mirror on the wall that speaks with a twisted tongue. Witness is borne and puzzles come together at the photographic moment which is very simple and complete. The mind-finger presses the release on the silly machine and it stops time and holds what its jaws can encompass and what the light will stain.

The New York book was a visual diary and it was also kind of personal newspaper. I wanted it to look like the news. I didn’t relate to European photography. It was too poetic and anecdotal for me… the kinetic quality of new york, the kids, dirt, madness—I tried to find a photographic style that would come close to it. So I would be grainy and contrasted and black. Id crop, blur, play with the negatives. I didn’t see clean technique being right for New York. I could imagine my pictures lying in the gutter like the New York Daily News.

I've had my body manipulated so many different times for so many different reasons, whether it's paparazzi photographers or for film posters. The topless Interview shoot was one of the ones where I said: 'OK, I'm fine doing the topless shot so long as you don't make them any bigger or retouch.' Because it does feel important to say it really doesn't matter what shape you are. I think women's bodies are a battleground, and photography is partly to blame. Our society is so photographic now, it becomes more difficult to see all of those different varieties of shape.

This is a photograph, so it is as you see: there are no lies and no deceptions. One can detect here, elevated to an incomparably higher level, the same pathetic emotional appeal that lies concealed in every fake spiritualist photograph, every pornographic photograph; one comes to suspect that the strange, disturbing emotional appeal of the photographic art consists solely in that same repeated refrain: this is a true ghost... this is a photograph, so it is as you see: there are no lies, no deceptions.

For more than twenty years by my own work and personal initiative, I have gathered from all the old streets of Vieux Paris photographic plates, 18 x 24 format, artistic documents of the beautiful civil architecture of the 16th to the 19th century: the old hôtels, historic or curious houses, beautiful facades, beautiful doors, beautiful woodwork, door knockers, old fountains This vast artistic and documentary collection is today complete. I can truthfully say that I possess all of Vieux Paris.

Picture yourself during the early 1920's inside the dome of the Mount Wilson Observatory. ... Humason is showing Shapley stars he had found in the Andromeda Nebula that appeared and disappeared on photographs of that object. The famous astronomer very patiently explains that these objects could not be stars because the Nebula was a nearby gaseous cloud within our own Milky Way system. Shapley takes his handkerchief from his pocket and wipes the identifying marks off the back of the photographic plate.

Abraham Lincoln did have intellectual instincts, a tremendous curiosity on a broad range of subjects, and a near-photographic memory for what he read. He was, at the end of the day, a politician: politics were his heaven, said William Herndon. But Lincoln did take comfort in ideas and books, more so than almost any other president, and he went to books and ideas in moments of perplexity to sort things out. Philosopher, no, but thoughtful and "surprisingly well-read" for his day.

In my photographic work I'm generally attracted to places that contain memories, history, atmospheres and stories. I'm interested in the places where people have lived, worked and played. I look for traces of the past, visual fingerprints, evidence of activities - they fire my imagination and connect into my own personal experiences. Using the analogy of the theater, I would say that I like to photograph the empty stage, before or after the performance, even in between acts. I love the atmosphere of anticipation, the feeling in the air that events have happened, or will happen soon.

The most refined skills of color printing, the intricate techniques of wide-angle photography, provide us pictures of trivia bigger and more real than life. We forget that we see trivia and notice only that the reproduction is so good. Man fulfils his dream and by photographic magic produces a precise image of the Grand Canyon. The result is not that he adores nature or beauty the more. Instead he adores his camera - and himself.

Because each photograph is only a fragment, its moral and emotional weight depends on where it is inserted. A photograph changes according to the context in which it is seen: thus Smith's Minamata photographs will seem different on a contact sheet, in a gallery, in a political demonstration, in a police file, in a photographic magazine, in a book, on a living-room wall. Each o these situations suggest a different use for the photographs but none can secure their meaning.

My background is in painting but in school in the sixties, like many artists of that time, I believed that painting was dead. I began to work in collaboration with other artists in the creation of performances and installation works. Soon after, I started making video and photographic works and in the process became fascinated with the media itself. Before long I was setting things up just for the camera. In l970 I got a dog and he turned out to be very interested in video and photography as well.

When one studies strongly radioactive substances special precautions must be taken if one wishes to be able to take delicate measurements. The various objects used in a chemical laboratory and those used in a chemical laboratory, and those which serve for experiments in physics, become radioactive in a short time and act upon photographic plates through black paper. Dust, the air of the room, and one's clothes all become radioactive.

With crystals we are in a situation similar to an attempt to investigate an optical grating merely from the spectra it produces... But a knowledge of the positions and intensities of the spectra does not suffice for the determination of the structure. The phases with which the diffracted waves vibrate relative to one another enter in an essential way. To determine a crystal structure on the atomic scale, one must know the phase differences between the different interference spots on the photographic plate, and this task may certainly prove to be rather difficult.

Some day there may be... machinery that needs but to be wound up and sent roaming o'er hill and dale, through fields and meadows, by babbling brooks and shady woods - in short, a machine that will discriminately select its subject and, by means of a skillful arrangement of springs and screws, compose its motif, expose the plate, develop, print, and even mount and frame the result of its excursion, so that there will be nothing for us to do but to send it to the Royal Photographic Society's exhibition and gratefully to receive the 'Royal Medal'.

Internal mental experience is not the product of a photographic process. Internal reality is in fact constructed by the brain as it interacts with the environment in the present, in the context of its past experiences and expectancies of the future. At the level of perceptual categorizations, we have reached a land of mental representations quite distant from the layers of the world just inches away from their place inside the skull. This is the reason why each of us experiences a unique way of minding the world. (pp. 166-167)