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Photography Quotes

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Photography Quotes

“People thought this was a computer IT gig, and that will flow through those nerdy departments and it won't come into fashion photography, it won't come into television, it won't come into my daily communications, it won't come into my telephone, my microphone, my light control, my microwave radio, my - I mean, just name it.”

“I seem to walk in the world as two people. The normal everyday-me is as preoccupied, unobservant and oblivious to visual clues as I ever was. Then there is the photographer-me, the one who has a camera in hand and a specific project in mind, and then the world suddenly jumps to life with potential pictures, as if a switch had been thrown in my brain and a different person is looking out of the same eyes.”

“There are many innovators hard at work seeking to perfect alternatives to meat, milk, and eggs. These food products will, like computer-generated graphics or photography or sound systems, just keep getting better and better until there is little difference between an animal-based protein and a plant-based one, or farm-produced versus cultured meat. That will make it easy for people to make the kinds of choices that will usher in a world with far less violence.”

“I can appreciate the idea that with e-books more people would publish, the work would be easier to disseminate, and that it could even be interactive. Being a lover of photography, I especially like the idea that you could include lots of pictures - full-color pictures - with your writing. That to me is exciting! We'll all have to stay tuned to see what develops.”

“I got to work with Robert DeNiro once and it was a strange experience. Gwyneth Paltrow and I were doing Great Expectations movie together and we were complaining about what a mediocre film experience it was. DeNiro showed up on set and all of a sudden the director got better, the director of photography got better - everybody got more interested and excited. DeNiro isn't waiting for other people to create the environment that he wants, he brings it along with him.”

“I left film because I felt that photography was my art. It was something I could do on my own, whereas film was so collaborative. I thought as a photographer I could make something that was artistic and that was mine, and I liked that. And it wasn't until I got back into film and I have very small crews and I could do very tiny filmmaking that wasn't 100 people that I still felt that I was making something artistic as a filmmaker. So, you know, I'm an artist, and whether it's photography or film, I want my voice to be there and I think my voice is very strong in this film.”

“For me being able to see all different places where I've skied and cherish them, and be able to see them - really see them - is something that I'm passionate about. I'm into photography, so I really enjoy taking photos of all the places that I've gone. I think that's the coolest part about being an Olympic sportsman, I get to travel around and see the world for free, technically. And get to see different cultures, and all the different people that I've met along the way - it's a pretty awesome job.”

“During my performances, I don't like folks to take pictures because I feel that we live in a very photographic time. Photography was invented over 100 years ago, and now it's at its peak because everyone has a camera. The fact that they are taking experiences and filtering them through a mechanical lens I find amazing, but also disheartening. Amazing when you have photographs that start revolutions. Disheartening when you have people making photographs but not living.”

“For example, you now look at pictures from 1968, they are hugely misleading in terms of standing in as an absolute image of the time. Because maybe two percent of the people looked the way that we now associate with that time. I was also aware that what I was aiming for is an idealized, utopian version of how people could be together. I found photography to be a very powerful tool because as long as it looks real, it is perceived as real.”

“I knew I liked art. I knew I liked photography. I remember seeing photos of Linda Evangelista in Italian Vogue as a teenager, and at the time I didn't know who she was. There were two photos - one shot by Fabrizio Ferri and another one by Steven Meisel. I didn't know who any of those people were. I think it was the first summer I was modeling, I saw these magazines sitting out and looked at them. I remember thinking, These are the kind of images I want to make.”

“Twitter scares me. I think it's so amazing, like the internet in general, because of the connection that it gives people. But the concept that one 140-word post can change someone's life . . . that scares me. You can literally ruin someone's life with one tweet. So I only do Instagram. I love photography . . . and interacting with the fans. I do love hearing from them. I try to answer questions if I can.”

“Every once in a while I have this revelation like, "Wow, a hundred years ago the world wasn't black and white." It was in color. Photographed in a certain way, people look from another time. We are just not used to seeing ourselves in that context. Something that's fascinating about photography is you can isolate a moment, tear it out of its context, and see it afresh. Another realization is that, "Wow, there's a big world out there, and people are still doing all sorts of the things that they used to do." We don't just live in iPad land.”

“I've never been the type of photographer to live with people I photograph. You know, shoot heroin with them, that kind of thing. I respect those photographers that work that way. But part of my personality is a certain amount of distance, and part of my attraction to the medium of photography is this distance where you're in the world, but you're removed from it.”

“Photography was increasingly being seen as something outside the art world. As a sort of illustration. They just fired the director of photography at the Sunday Times Magazine - that's where everyone went with their photo essays in the '60s, '70s, and '80s. It was the place to get published. It is an issue. And I feel it. There's no budget. The budget-holders are very often people who've been to the professional colleges where art is not taught. So art as a part of education is something that's missing - since Thatcher's day, anyway.”

“We don't understand what photography is doing. We don't understand the power of its rhetoric. We don't understand why the Provoke photographers showed Tokyo city as a ghastly and alien city when it was really going through this period of mega-capitalist growth. It's a very, very, very powerful force, the photograph. People ask me why it has such an ability to captivate us. And I just don't know.”

“Press information is serious information, but press information is also manipulated by people who want you to think that this and that happened. So it's the old thing that you still cannot trust photography at all or you have to know who is distributing the photograph. In terms of cell phone photography, I think nobody cares about a photograph anymore because they're taking so many pictures just for fun.”