Quotes About Photography

I don't paint. I am a hobbyist photographer, so I relate to the visual arts that way, but I'm not a painter.

Unlike any other visual image, a photograph is not a rendering, an imitation or an interpretation of its subject, but actually a trace of it. No painting or drawing, however naturalist, belongs to its subject in the way that a photograph does.

Right before 'American Dreams,' I started to pursue these avenues, like short films and getting into a couple night courses to really study photography and cinematography, and the language of visual storytelling.

In my mind's eye, I visualize how a particular... sight and feeling will appear on a print. If it excites me, there is a good chance it will make a good photograph. It is an intuitive sense, an ability that comes from a lot of practice.

The main thing I love about street photography is that you find the answers you don't see at the fashion shows. You find information for readers so they can visualize themselves.

I've always been super into photography and the visuals that support my music.

I really loved taking photos when I was younger. I think my love for photography sparked my love for creating the visuals to support my music.

In the same way that musicians inspire me, artists and photographers like David LaChapelle influence me with their visuals. A photographer like LaChapelle creates an entirely new and unique visual for their work, and that's what I'd like to do with the Charli XCX world as well.

I just like pictures and visuals and stuff.

I came from a background of photography so I look at details and visuals, and I see things in pictures or signs.

I can tell you what I personally use a camera for. Basically, it is to record a moment. A moment that is vital to give the viewer a sensation of liveliness, sadness, joy and so on.

Friends told me not to bother with the silents - they're jerky, poorly photographed and ludicrously badly acted. But I was immediately struck by the freshness and vitality of these films.

When you have a magazine like 'Vogue,' you know a lot of kids are going to follow your pictures.

Who doesn't want to shoot for 'Vogue?' I remember updating my Facebook status to say 'Doing 'Vogue' today', it was so exciting. I thought it would be really intimidating, and I don't like photoshoots, but that was the most relaxed one I've done.

Many photographers feel their client is the subject. My client is a woman in Kansas who reads Vogue. I'm trying to intrigue, stimulate, feed her. My responsibility is to the reader. The severe portrait that is not the greatest joy in the world to the subject may be enormously interesting to the reader.

My mother, all of her sisters and my siblings all went through a stage from the age of about 15 to 19 where they widened and then lengthened. Had I not been modelling, that would have been a phase that was in a family photo album rather than in Vogue.

French 'Vogue' was always a photographer's magazine.

As fantastic as it is to have 'Vogue' and 'Vanity Fair' as places to work, I don't often get to shoot the kind of things I like to photograph in the way I like to photograph.

One of my favorite poses was when working with Steven Meisel. It was one of my first photo shoots with him, and we were trying to get the cover of Italian 'Vogue.' Then, I literally took my Balenciaga hat, pulled it down, and gave a rolling-eye, 'ugh' face, crossed legs on the floor. And lo and behold, that was the cover of Italian 'Vogue.'

In 1990, when they asked me to shoot a cover for 'British Vogue' to convey my personal vision of a woman, I explained that I couldn't just photograph one single girl, because what I was looking for was a new purpose, and new feminine determination.

Photography is a small voice, at best, but sometimes one photograph, or a group of them, can lure our sense of awareness.

Perhaps the most important people that I should photograph are the people who don't have a voice.

With the work that I do as a director, I've got dialogue, camera movement, and character blocking to help create a tone to the piece. In photography, those elements are somewhat void so that tone becomes a bit more subtle but still equally important.

Flash turns up the optical volume so that whatever lies behind the lens - be it film or a digital sensor - is a little more receptive.