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Photograph Quotes

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Photograph Quotes

“Let me here call attention to one of the most universally popular mistakes that have to do with photography - that of classing supposedly excellent work as professional, and using the term amateur to convey the idea of immature productions and to excuse atrociously poor photographs.”

“As an emerging photojournalist in the early 70s, my focus was on trying to create stories for magazines to the exclusion of almost everything else. I wish someone had told me then that the most personally important pictures you’ll ever make are those about you and your life. I’m glad I had the chance to work for some great magazines, but I really miss those little everyday images, the ones that take place in and around your own life, which will never make the news. Don’t sell yourself short: photograph your own life, not just everyone else’s.”

“There were times when I asked myself whether I was being principled or simply a coward.... I was wrapped in the cocoon of tennis early in life, mainly by blacks like my most powerful mentor, Dr. Robert Walter Johnson of Lynchburg, Virginia. They insisted that I be unfailingly polite on the court, unfalteringly calm and detached, so that whites could never accuse me of meanness. I learned well. I look at photographs of the skinny, frail, little black boy that I was in the early 1950s, and I see that I was my tennis racquet and my tennis racquet was me. It was my rod and my staff.”

“I think I’ve said this before many times—that photography allows you to learn to look and see. You begin to see things you had never paid any attention to. And as you photograph, one of the benefits is that the world becomes a much richer, juicier, visual place. Sometimes it is almost unbearable — it is too interesting. And it isn’t always just the photos you take that matters. It is looking at the world and seeing things that you never photograph that could be photographs if you had the energy to keep taking pictures every second of your life.”

“Sometimes the most interesting visual phenomena occur when you least expect it. Other times, you think youre getting something amazing and the photographs turn out to be boring and predictable. So I think thats why, a long time ago, I consciously tried to let go of artists angst, and instead just hope for the best and enjoy it. I love the journey as much as the destination. If I wasnt a photographer, Id still be a traveler.”

“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.”

“Even more ominous ... is the fact that since the Second World War a new kind of intellectual has emerged in large numbers. ... he is only minimally interested in the proper intellectual significance of images and objects. Such people are not really intellectuals, but visuals ... A visual is more interested in style than in content ... A visual does not feel a rioting crowd being machine-gunned by the police, he simply sees a brilliant news photograph.”

“Professional investment may be likened to those newspaper competitions in which the competitors have to pick out the six prettiest faces from a hundred photographs, the prize being awarded to the competitor whose choice most nearly corresponds to the average preferences of the competitors as a whole.”

“The Place of Religion in Chicago is a clearly written account of a little-studied aspect of American landscape. Based on unique field surveys and supported by photographs, tables, and beautifully crafted maps, the book will form a lasting contribution to our understanding of an overlooked element of the American urban scene: the religious landscape of a major metropolis.”

“Between two fantasy alternatives, that Holbein the Younger had lived long enough to have painted Shakespeare or that a prototype of the camera had been invented early enough to have photographed him, most Bardolators would choose the photograph. This is not just because it would presumably show what Shakespeare really looked like, for even if the photograph were faded, barely legible, a brownish shadow, we would probably still prefer it to another glorious Holbein. Having a photograph of Shakespeare would be like having a nail from the True Cross.”