Photography Quotes

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Shadow is an amazing subject. Shadow is an absence. As an absence of energy you can compare it to silence or maybe cold air.... We talk about photography being simple and architecture being complex and how do you convey something that is more deep, that allows you to dream or think This is weird so you start to dream and think and you maybe go out purely from the picture but into yourself. The light and the shadow are tools to allow you to do that.

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!

Money and fame that photography can bring you are wonderful, but nothing can compare to the joy of seeing something new.

It is a cruel, ironical art, photography. The dragging of captured moments into the future; moments that should have been allowed to be evaporate into the past; should exist only in memories, glimpsed through the fog of events that came after. Photographs force us to see people before their future weighed them down....

A Ming vase can be well-designed and well-made and is beautiful for that reason alone. I don't think this can be true for photography. Unless there is something a little incomplete and a little strange, it will simply look like a copy of something pretty. We won't take an interest in it.

The magicians of the 19th century, enthralled by the science of optics, photography and electricity, opened the door to motion pictures and thereby rendered themselves obsolete. Any amateur with a pair of scissors can cut and edit a strip of film in order to make a woman vanish, sever a head, burn a body down to the skeleton and reverse time. Talent went out of style.… People either didn't believe Houdini when he said that his tricks on film were real, or they didn't care. Illusion became big bigness, and the magicians were out of work.

From the point of view of photography, I'll smite the picture with sun rays. I'll take old stock shots and scratch them; I'll claw at them so that unknown beauty sees the light of day. I shall sculpt flowers upon the film stock.

In photography you've got to be quick, quick, quick, like an animal and a prey.

Henri Cartier-Bresson

By furnishing this already crowded world with a duplicate one of images, photography makes us feel that the world is more available than it really is.

My programme, The Art of Creative Expression, empowers young people with tools to express themselves. We teach photography, art and drama, but it's not just the medium that's important, it's about what you are trying to say.

Photography is more than a medium for factual communication of ideas. It is a creative art.

I have often thought that if photography were difficult in the true sense of the term — meaning that the creation of a simple photograph would entail as much time and effort as the production of a good watercolor or etching — there would be a vast improvement in total output. The sheer ease with which we can produce a superficial image often leads to creative disaster.

It is photography itself that creates the illusion of innocence. Its ironies of frozen narrative lend to its subjects an apparent unawareness that they will change or die. It is the future they are innocent of. Fifty years on we look at them with the godly knowledge of how they turne dout after all - who they married, the date of their death - with no thought for who will one day be holding photographs of us.

Evans wanted his photographs to be "literate, authoritative, transcendent." The moral universe of the 1930s being no longer ours, these adjectives are barely creditable today. Nobody demands that photography be literate. Nobody can imagine how it could be authoritative. Nobody understands how anything, least of all a photograph, could be transcendent.

Oh my goodness gracious, what you can buy off the Internet in terms of overhead photography. A trained ape can know an awful lot of what is going on in this world, just by punching on his mouse, for a relatively modest cost.

Donald Rumsfeld

We rely, I think, on landscape photography to make intelligible to us what we already know.

Robert Adams (photographer)

The photogram, image formation outside the camera is the real key to photography, it embodies the essence... that allows us to capture light on light sensitive material without the use of any camera.

László Moholy-Nagy

[Photography is] the nearest thing to journalism for anyone who found himself without a language.

It is the artist who is truthful and it is photography which lies, for in reality time does not stop

As a matter of fact, nearly all the greatest work is being, and has always been done, by those who are following photography for the love of it, and not merely for financial reasons. As the name implies, an amateur is one who works for love.

Alfred Stieglitz

Few speeches which have produced an electrical effect on an audience can bear the colorless photography of a printed record.

Archibald Primrose, 5th Earl of Rosebery

Photography appears to be an easy activity; in fact it is a varied and ambiguous process in which the only common denominator among its practitioners is in the instrument.

Henri Cartier-Bresson

Photography as a fad is well-nigh on its last legs, thanks principally to the bicycle craze.

Alfred Stieglitz

to show that [the success of my portray-] photographs was not due to subject matter – not to special trees or faces, or interiors, to special privileges – clouds were there for everyone... I wanted to photograph clouds to find out what I had learned in forty years about photography. Through clouds to put down my philosophy of life... My aim is increasingly to make my photographs look so much like photographs that unless one has eyes and sees, they won't be seen – and still everyone will never forget them having once looked at them.

Alfred Stieglitz

When I thought of myself as a writer in the 1960s, I questioned what made me go from the left to the right margin, from one page to another. As I thought of the space I was also thinking about time. Then I thought: 'Why am I limiting myself to a piece of paper when there's a world out there?' I focused on performance in the early 1970s because the common language of the time was 'finding oneself.' In a time like that, what else could I do but turn in on myself and then go from me to you? Photography, film, and video were sidesteps–spaces in front of you–whereas I was more interested in the space where you were in the middle. Now I'm involved with peopled spaces–that's design and architecture.