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Photograph Quotes

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Photograph Quotes

“The Maharishi had invited us all to go to India to his ashram in the Indian Himalaya. We were there studying meditation for two and a half months. While the other three Beatles went back to London to start the beginning of their Apple empire, George and I went to Madras for a week’s relaxation. I took this photograph of George one morning, as I thought the light on his face was lovely. I think this was the last time that I saw him looking so calm.”

“I think about photographs as being full, or empty. You picture something in a frame and it's got lots of accounting going on in it-stones and buildings and trees and air - but that's not what fills up a frame. You fill up the frame with feelings, energy, discovery, and risk, and leave room enough for someone else to get in there.”

“I find it strangely beautiful that the camera with its inherent clarity of object and detail can produce images that in spite of themselves offer possibilities to be more than they are a photograph of nothing very important at all, nothing but an intuition, a response, a twitch from the photographer’s experience.”

“They [photographs] teach you about your own unraveling past, or about the immediacy of yesterday. They show you what you look at. If you take a photograph, you've been responsive to something, and you looked hard at it. Hard for a thousandth of a second, hard for ten minutes. But hard, nonetheless. And it's the quality of that bite that teaches you how connected you were to that thing, and where you stood in relation to it, then and now.”

“My approach to photograph is kept simple, almost routine. All work, good and bad, is documented. I use standard film, a standard lens and no filters. Each work grows, strays, decays-integral parts of a cycle which the photograph shows at its height, marking the moment when the work is most alive. There is an intensity about a work at its peak that I hope is expresses in the image. Process and decay are implicit.”

“I had no aspirations to become a landscape photographer at all. In fact it was portraiture that was my beginning, I suppose. I have always been a very keen walker, though, and I often took a camera with me on my walks. But I was, and still am, an avid reader and so when I first started I chose to photograph many of the great writers in this country to try and earn a living.”

“I ask people why they have deer heads on their walls. They always say because it's such a beautiful animal. There you go. I think my mother is attractive, but I have photographs of her.”

“I am fooling only myself when I say that my mother exists now only in the photographs on my bulletin board or in the outline of my hand or in the armful of memories I still hold tight. She lives on beneath everything I do. Her presence influenced who I was and her absence influences who I am. Our lives are shaped as much by those who leave us as they are by those who stay. Loss is our legacy. Insight is our gift. Memory is our guide.”

“I started out as a fashion photographer. One cannot say that I was successful but there was enough work to keep me busy. I collaborated with Harper's Bazaar and other magazines. I was constantly aware that those who hired me would have preferred to work with a star such as Avedon. But it didn't matter. I had work and I made a living. At the same time, I took my own photographs. Strangely enough, I knew exactly what I wanted and what I liked.”

“British diplomats, constantly exposed to American political-ethical rhetoric, find their professional skills tested to the limits by the need to keep a straight face. For illustrations of what I mean, study the photographs of the expressions worn by Mr Douglas Hurd at any international conference involving all the Western allies.”

“I dug myself a garden, and a stray cat I grew to like would come around to sulk in the corn. I forced myself to seek new love, and for a while, I thought I'd found it with a girl from my office. She was molten in my bed, but she also suffered depressions that were very dear to her. She would often call just to sigh at me for two hours on the phone, wanting me to applaud her depth of feeling. I cut if off, then missed her, wishing that I'd at least had the sense to take her naked photograph.”

“The photographer Ruth Bernhard used to tell me that this is like asking somebody how they evolved their signature. It is not something I've ever worked on consciously. I think style is just the end result of personal experience. It would be problematic for me to photograph in another style. I'm drawn to places and subject matter that have personal connections for me and I photograph in a way that seems right. Where does it all come from, who knows?”

“Modern man receives a large part of his knowledge and general education by way of pictorial impressions, illustrations, photographs, films. Daily newspapers bring more pictures from year to year. In addition, the advertising business operates with optical signals as well as representations. Exhibitions and museums are indeed offspring of this visual hustle.”