Quotes About Photography

I always wanted to know what lens they were on, how close they were. I didn't do it with a plan in mind, but I would instinctively gear what I was doing toward what lenses they were using.

I remember doing a shoot for Herb Ritts, hanging off the Eiffel Tower - that wasn't your usual day at the office. It was terrifying, and in the end, you couldn't really tell how high I was because the photographer was scared of heights, so he was quite far away from me.

A photo app is a utility. It's like comparing 'Twitter' to Microsoft Word. If you want to be an author, you're not always going to constrain yourself to 140 characters.

I'm very stodgy. I'm always looking at old photos of California and Los Angeles, knowing that what I'm looking at is now full of houses. There used to be vacant lots in Los Angeles, now all taken up by three-storey boxes - it's all getting infilled.

Remember when vacation photos meant toting along a bulky camera?

It was at a big swap meet that I discovered you could buy other people's old discarded family photos and vacation pictures for pretty cheap - a quarter, 50 cents, five bucks for a really nice one.

If my father was shooting in Kashmir or down south in the jungles during our vacations, we would go. But it wasn't a regular thing; we did it only in the vacations.

The '60s in London obviously brought about the explosion of music, the 'Beatles' especially, and then the 'Rolling Stones' and other forms of music, and then fashion and photography and films - kitchen-sink dramas we called them at that time, which was our 'nouvelle vague' in Britain, films that talk about real life.

I don't think I'm vain... but I do like to be lit well.

I have my insecurities, and some days you don't want to be photographed. You notice all of your flaws even if others don't notice them. Photo shoots also feel very vain because it's all about you and your looks and your face. I feel I work better on camera.

One of the biggest mistakes a photographer can make is to look at the real world and cling to the vain hope that next time his film will somehow bear a closer resemblance to it.

Since high school, I've always been super into photography. I event went to Valley College for photography.

We chose Madonna, Courtney Love, and Tina Turner for the cover. The shoot took twelve hours and involved seventy hairdressers, stylists, makeup people, and personal assistants

ANNIE LEIBOVITZ'S FIRST cover shoot was Grace Slick.

They say there is always a photographic moment to be seized where the most banal of beings yield up their secret identity. But what is interesting is their secret alterity, and rather than looking for the identity beneath the appearances, we should look for the mask beneath the identity, the figure which haunts us and diverts us from our identities -- the masked divinity which, in effect, haunts each of us for a moment, one day or another.

Perhaps the desire to take photographs arises from the observation that on the broadest view, from the standpoint of reason, the world is a great disappointment. In its details, however, and caught by surprise, the world always has a stunning clarity. The secret form of the Other is what has to be reconstituted, as in anamorphosis, starting with the fragments and tracing its broken lines, its lines of fracture.

Marseille ist keine Stadt für Touristen. Es gibt dort nichts zu sehen. Seine Schönheit lässt sich nicht fotografieren. Sie teilt sich mit. Hier muss man Partei ergreifen. Sich engagieren. Dafür oder dagegen sein. Leidenschaftlich sein. Erst dann wird sichtbar, was es zu sehen gibt. Und dann ist man, wenn auch zu spät, mitten in einem Drama. Einem antiken Drama, in dem der Held der Tod ist. In Marseille muss man sogar kämpfen, um zu verlieren.

He doesn't take a photo or a video because he wants to remember — by which he means he wants to misremember because the moment is made up of what the camera can't capture.

Currently I am working on another three books, doing a lot of magazine work, am shooting for fifteen stock agencies, plus my own photo library - all this keeps me quite busy!

Photography today is so accurate and so good that it's really so much easier just to take photographs and work from them.

I have always tried to keep truth in my photographs. My work, whether realistic or abstract, has always dealt with a form of religion or imagination.

If the guy behind the camera is not good, the pictures are bad. It's still you, and it's the same lines and everything, but it doesn't work.

And if any work that I have done should have value beyond my own lifetime, I believe it will be the happy labors of the decade 1869-1878.

I admire photographers that don't need a destination. In some ways, street photography is like that. There's a quality of wanderlust for sure in my work, but I need a destination.