Quotes About Photography

When I was a graduate student in computer science in the early 2000s, computers were barely able to detect sharp edges in photographs, let alone recognize something as loosely defined as a human face.

I became enamored with photography when I was about 13 or 14 years old. I've been at it ever since. I studied seriously in the '70s.

After I left school, where I studied art, photography and textiles at A-level, I started doing an apprenticeship in interior design, but I wasn't really enjoying it very much, so I decided to do something creative, and in 2009, I began blogging.

I didn't really know how to make a film when I made 'Control'. I had to create my own language, just as I did when I started taking photographs. I never studied either one.

Back in the day, I actually studied photography in Florence for a few months, and my photography teacher took away my digital camera and said, 'No, use this - it's analog and it's square.' It was a Holga camera, a very cheap $3 or $4 plastic camera. And that's what inspired 'Instagram'.

I always liked photography in film - I studied photography growing up. I like the medium of film; I like physically holding 35-mm film. I like the way it looks, the quality when it's projected. I like the way it frames real life.

I studied photography in high school, and straight away, I knew it was something I was interested in.

One day, a photographer living in our building came up to my mom and asked her if I would like to model. After a few days, I was offered a Kannada film, 'Chiru,' which was a lot of fun. But I had to complete my studies, so I went back to college.

Sometimes there's a sense of closing yourself off on a shoot, and I try not to do that. Sometimes you have to, like when you're in a studio and you're doing fashion shooting, but I don't even do it then.

I like the gritty parts of fashion, the design, the studio, the pictures.

I look for a sense of reality with everything I did. I didn't work in a studio, I didn't light anything. I found a way of working which pleased me because I didn't have to frighten people with heavy equipment. It was that little black box and me and £5 worth of film in my pocket or maybe it was only £2 in those days.

When I was studying photography, I became interested in conflict photojournalism, and that got me interested in lighting. Then I realized there was this amazing thing called cinematography where you could kind of tell more complete stories photographing for film. So I ended up going to AFI grad school for that.

I'm studying art and photography, like film and digital - a mix of both.

I'm not very daring in my street style, usually because there's a photographer around!

My stylist coached me on how to stand for photos. Always put one leg forward and a hand on your hip.

Did you notice what happened when digital photography arrived? Suddenly there were four times as many people on set for a shoot! It used to be a photographer, a couple of photo assistants, stylist and a fashion assistant, hair and make-up and that was about it.

Actually, I'm not all that interested in the subject of photography. Once the picture is in the box, I'm not all that interested in what happens next. Hunters, after all, aren't cooks.

The dog is the perfect portrait subject. He doesn't pose. He isn't aware of the camera.

Fantasy isn't something I put into the pictures; I don't try and inject them with a sense of play. But it's about being an honest photographer; a photograph is as much of a mirror of the photographer as it is the subject.

With a photograph, you are left with the same modes of interpretation as you are with a book. You ask: 'What do we know about the author and their background? What do I know about the subject?'

What I end up shooting is the situation. I shoot the composition and my subject is going to help the composition or not.

I can work with shyness, but for the most part I want people to feel comfortable with me. It's really more about the photographer feeing comfortable right when they walk in that makes the subject feel comfortable.

Most of us, when we go out with a camera in our own country, try to find exotic subject matter to photograph.

I often photograph something as if the subject matter was realistic, but it is actually a fantasy.