Quotes About Photography

For Instagram, people use cameras ranging from high-end DSLRs, point-and-shoots, classic film cameras, and their smartphones. I personally like to use my iPhone because I know I will always have it with me.

Ironically, I don't like having cameras in my face.

You start blocking out things, and that's a really important part of taking a picture is the ability to isolate what you're - what you're concentrating on.

I don't need to own one but I like to look at Diane Arbus's pictures and anything by Jackson Pollock.

Photographers often speak of subjects in the 'foreground' of a landscape scene. Has any famous photographer ever dared to venture to refer to a five, six or more 'grounds' in one of their developments?

Lemme take your picture! You fucking bok gwai low got a face carved out of rotten potato cured in dogshit, runover with a towtruck driven by Hellen Keller in a puke fit on pills...

famous Phillip Willis pictures taken directly following the President's assassination. In one of the shots, a man who,

We sleep and nap in bed--my two piled up mattresses on the bare wooden floor. We are silent, dreamy. She surveys my photographs crowded on the wall. I have no particular subject, no special theme. The Brooklyn Bridge at dawn will do, tugs and their milky wake, elms fading in the fading light, my postman and his green mailbag. It's the shooting the excites me. Printing is the fatiguing task after the action, the dressing of the game after the hunt.

When you shoot a lot you stand a better chance, but then you are subjecting yourself to the law of accident?if accident has a law. I prefer to try and if necessary fail. When I succeed, however, I am much happier than I would be if I shot a million pictures on the off-chance. I feel that I have really made it myself, that picture, not won it in a lottery.

Photography is the only language understood in all parts of the world, and bridging all nations and cultures, it links the family of man. Independent of political influence - where people are free - it reflects truthfully life and events, allows us to share in the hopes and despair of others, and illuminates political and social conditions. We become the eye-witnesses of the humanity and inhumanity of mankind.

I like photographing women who appear to know something of life. I recently did a session with a great beauty, a movie star in in her thirties. I photographed her twice within three weeks and the second time I said: You're much more beautiful today than you were three weeks ago. And she replied: But I'm also three weeks older.

There must be a certain look of availability in the women I photograph. I think the woman who gives the appearance of being available is sexually much more exciting than a woman who's completely distant. This sense of availability I find erotic.

I asked him how he had been able to take such a splendid picture. With a smile he said, "Well, I had only to be very patient and very attentive. It was only after a few hours of compliments that the lily was willing to let me take her picture.

I hate having my picture taken. Ten years ago, I stopped having a good side.

I did pose for 'Black and White' magazine, a prestigious, artistic publication, several years ago... I did this as a piece of art and make no apologies for the creative decisions I've made as an artist in my 20-year career.

These people live again in print as intensely as when their images were captured on old dry plates of sixty years ago... I am walking in their alleys, standing in their rooms and sheds and workshops, looking in and out of their windows. Any they in turn seem to be aware of me.

So about twenty years ago I gave up on painting - and got into terrible debt after buying a load of camera gear!

When I started doing my work years ago, I had doubts as to whether the informed-consent question was answerable.

I shot this wonderful picture called American Saint a couple of years ago, which is still looking for release.

I photographed rocks and trees and tide pools and nudes and all that stuff for years and years. Until 20 years ago when I found that I could do it in the studio and never have to travel.

If someone comes up to me and asks me for a photo, if they do it politely, I'm always going to say yes.

I draw cinematic and photography and art references from everywhere. That's part of my job. So yes, you watch films, you see artists for palettes, photographers for mood.

Anyone with a smart phone is a potential eyewitness cameraman capturing and transmitting stories at speeds that turn Reuter photos and traditional reporting into, well... yesterday's news.

I just yesterday returned from a trip where I photographed a woman with two children whom I photographed first when she was the age of the older of the two children.