Quotes About Photograph

For me, every photograph is a portrait; the clothes are just a vehicle for what I want to say. You're photographing a relationship with the person you're shooting; there's an exchange, and that's what that picture is.

With the Larry Bertlemann portrait, I started with a photograph that I could use for it. I built the drawing's identity to serve as a graphic identity. After a number of sketches, I went into my own abstract vernacular of drawn lines and shapes to create the composition for the poster design.

Where were we? she said. Getting credit, I said. What about it? Well, it's nice to get credit. The spokes of her rear wheel spun behind the curtain of her long skirt. She looked like a photograph from a hundred years ago. She turned her wide eyes on me. Is it? she said.

She pictures clearly the gray cement floor of her parents' sitting room, feels its solid chill underfoot even on the hottest days. An enormous black-and-white photograph of her deceased paternal grandfather looms at one end against the pink plaster wall;

You know, Im directing a documentary about the history of Abbey Road Studios at the moment, so Ive been taken back to those times. There is a photograph of me aged three months on one of the sofas in the studio, so I was there before I can remember being there.

Everything is a subject. Every subject has a rhythm. To feel it is the raison detre. The photograph is a fixed moment of such a raison detre, which lives on in itself.

I'll see a photograph of a character and try to copy them on to my face. I think I'm really observant, and thinking how a person is put together, seeing them on the street and noticing subtle things about them that make them who they are.

A memory is a photograph taken by the heart to make a special moment last forever.

A photograph it a souvenir of a memory. It is not a moment. It is the looking at the photograph that becomes the moment. Your own moment.

And I told you: I think of a photograph you took of me, up in Montreal. You told me to jump in the air, so in the picture, my feet are off the ground. Later, I asked you why you wanted me to do that, and you told me it was the only way to get me to forget about the expression on my face. You were right. I am completely unposed, completely genuine. In my mind's eye, I picture myself like that, reacting to you.

That's what makes it a good photograph. You think you know what's going on in her head. but the truth? No matter how good a photograph is, you can never tell what's going on in the person's mind. There's no way to get from here to there.

we flew to Los Angeles, where I secured a new passport. The picture in my stolen one wasn't half bad, but in the new one I look like a penis with an old person's face drawn on it.

In memory, she lived and moved and laughed, but all that a photograph could offer was one frozen moment of a life.

One patient died on the operating table when Freeman stopped, mid-surgery, to take a photograph.

I know the families that I photograph extremely well, and I've known them for a very long time.

Great images take you on a journey via a single photograph. The depth and layers pull your eye all over the frame, causing you to pick up interesting pieces along the way, ultimately coming to a climax.

In the end, the only heritage we have is our planet, and I have decided to go to the most pristine places on the planet and photograph them in the most honest way I know, with my point of view, and of course it is in black and white, because it is the only thing I know how to do.

You can't photograph anything really supernatural," I pointed out. "The energies around things like that will mess up cameras.

I know why we try to keep the dead alive: we try to keep them alive in order to keep them with us. I also know that if we are to live ourselves there comes a point at which we must relinquish the dead, let them go, keep them dead. Let them become the photograph on the table. Let them become the name on the trust accounts. Let go of them in the water. Knowing this does not make it any easier to let go of him in the water.

When I saw the photograph I realized for the first time why the obituaries had so disturbed me. I had allowed other people to think he was dead. I had allowed him to be buried alive.

One day we are looking at the Magnum photograph of Sophia Loren at the Christian Dior show in Paris in 1968 and thinking yes, it could be me, I could wear that dress, I was in Paris that year; a blink of the eye later we are in one or another doctor's office being told what has already gone wrong, why we will never again wear the red suede sandals with the four-inch heels, never again wear the gold hoop earrings, the enameled beads, never now wear the dress Sophia Loren is wearing.

And why did she even wind up with that impression? He tried to think of what he might have said to imply such a thing. Could his expression really have been so mournful when Kerri had asked him about the blonde in the photograph that Kerri could only conclude Amanda was dead?

Destiny had become perfectly understandable while everything unenigmatic, such as standing for the photograph in the third row back, with my one arm on the shoulder of Marshall Goldstein ("Children 39, 37. Grandchildren 8, 6") and my other on the shoulder of Stanley Wernikoff ("Children 39, 38. Grandchildren 5, 2, 8 mo."), had become inexplicable.

Her signature style is hyperrealism, an attempt to capture everything a photograph might and then much more: what the mind knows about a scene that the scene itself does not reveal; what the heart feels about the subject before it; how the past lives in the present and how the future looms real but unrevealed; what any moment on the Earth might mean, if it means anything at all.