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Photograph Quotes

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Photograph Quotes

“I have a completely worthless degree: a BS in Photojournalism from Boston University (BU). With this degree, I suppose I could have gotten a job teaching grade school kids how to photograph their relatives, but knowing about B&W photo processing and developing and how to shoot a picture story is good basic info that every photographer should have.”

“I think anything that you can use to connect is fine. For some people it's meditation. For some people it's yoga. For some people, it's running. For some people, it's affirmations. For me, it's photographs and drawings, and affirmations, and statues, and crystals. I fill my writing space and I fill my home with symbols of what I think of as higher energy.”

“In a painting no one complains that the subject is posed, but everybody complains about what looks posed in a photograph. Except, I've found that if I go very close in to the face, then the posed expression no longer exists. The face becomes a landscape of the lakes of the eyes and the hills of the nose and the valley of the cleft of the chin.”

“Poetry is like a portrait of a moment or person, and the poem is almost like looking at a photograph; it slaps you in the face and kisses you at the same time. Nothing else does that, with that brevity. Songs try to do it, but that's three minutes. A poem, you read it and it kind of changes your life and you don't know how it happened and you can never forget it. It's like the best song lyric, the best line from a film-everything in the world that's short and great put together.”

“Often, I'm spending months with a person in a very intimate context, getting to know the ins and outs of what they ate for breakfast, not to mention dredging up the most traumatic experiences of their lives, digging through their documents and photographs from difficult times, all of that. And that process, I think, can be extraordinarily strange for subjects who've never been interviewed before, especially if you don't acquaint them from the get-go with what you're trying to do, what it entails, and why you care.”

“If you've ever had to recall your past in some way and you open a drawer of old photographs that your parents kept, there are always pictures of you smiling and charming, and then a bunch of people you don't know who they are. Could be aunts, uncles, could be the postman for all you know. Who are these people? Your parents are never in the picture, because they are the ones taking them. So you've got these unrelated images that are disconnected from your memories.”

“I started out, in the mid-'70s, taking photographs of rock bands that I liked but not because I really wanted to photograph them. Initially, I was pretending to be a photographer, simply so that I could go up to the front of the crowd and be a bit closer to the bands. But, I found I was gradually developing an interest in the photos I took.”

“The reason why so many of my photographs in the book were taken in stairwells and corridors was that that was the only bit of spare space available and, in some cases, the only place where there was enough light to see anything. Even then, it was often so dark that I couldn't tell which gender my subject was (not that I particularly cared) and too dark, before the era of autofocus, to focus. I had to find a light (or carry a torch) and pre-focus.”

“I did a lot of reading of first person accounts from Koreans and combatants and aid workers. And I spoke to relatives. A lot of wonderful photographs were made available to me from that period - 1950-1956 - and those were given to me by a Korean newspaper in Seoul. Ruined villages, refugees streaming through a river valley, GI's and orphans and orphanages, those tiny details that you can only see in a picture.”

“I was out in California over the holidays and I was working with some photographs I took out there just now, actually, which were all different photographs of the sunset. They're really interesting because El Niño has changed the cloud configuration, not only the sea, but also the whole makeup of the clouds, the sunset, and the different gradations of color and tonality. So it'll be interesting to work with that.”

“I took photos from 1976 to when I left in 1993, primarily for Interview and a column I had called "Bob Colacello's Out" which Andy had conceived of. I've never taken a picture since, not even with my phone! It just felt too Andy Warhol to keep going around town taking photographs. And I never really thought of doing anything with them after I left the magazine until this great Art Director Sam Shahid about for or five years ago asked where all of the old photos were.”

“I have no policy for my collection. For example, there's a bunch of meteorite [on the windowsill in my studio]. I touch it and I feel the energy from the universe. I have a 1/1,000th of a fragment of stone-age tools and pottery and debris. I can learn many things from my collection. Actually, the 1,000 Buddha, I wanted to buy it, but it's a National Treasure, so I couldn't. If you cannot buy it, just photograph it!”

“One day I went to the manager and I asked him whether his model was working and he said, "Well, haven't you seen how many customers we have in this store?" And yes indeed I had. I mean it was definitely attracting a lot of customers, even attracting tourist buses that would land up at this store and people would go through the store and marvel at all the options, even sometimes take photographs of the various aisles.”

“This is life. It is everywhere, and it is here for the taking. I am alive and I know this, now, in a more profound way than when I am doing anything else. These sights are ephemeral, fleeting treasures that have been offered to me and to me alone. No other person in the history of the world, anywhere in all of time and space, has been granted this gift to be here in my place. And I am privileged, through the camera, to take this moment away with me. That is why I photograph.”

“...photographers who carry 60 pounds of equipment up a hill to photograph a view are not suffering enough, although their whining causes enough suffering among their listeners. No, if they really expect us to respect their search for enlightenment and artistic expression, in [the] future they will drag the equipment up the hill by their genitals and take the view with a tripod leg stuck through their foot.”