Quotes About Photography

I sometimes like the pictures photographers take of me.

My pictures are airbrushed.

There are some people who become best friends with everyone they photograph. There are people that I really like and admire and respect, but in a way I think it's better to keep a distance. I think you get better pictures of people that you don't know very well.

I never want people to be repulsed with my pictures; I always want to attract people.

! discovered photography completely by chance. My wife is an architect; when we were young and living in Paris, she bought a camera to take pictures of buildings. For the first time, I looked through a lens - and photography immediately started to invade my life.

I'd like to take more pictures of real celebrities. It would be fabulous to photograph Brad Pitt. He's so good-looking and just such a star.

The reason I call my book 'Irreverent' is because there were a lot of pictures that were very irreverent. Maybe I could call my book 'Forgiving' because maybe I made a lot of errors, too.

I want to make books. I want to take pictures and then write all over the pictures. And then I don't have to say a complete story, because I have the picture, and I have just a word.

If there is any jarring at all in my photographs, it's because we are so used to ingesting pictures of everywhere looking beautiful.

With photography, you are lucky if you get people to look at your pictures at some point. There's no formal way to show them.

There's no reason for anybody to jump out of bushes to take pictures of me. I'm not doing anything exciting.

Photography is about light and what it does and how it is captured on a piece of negative.

Everybody who worked in film misses holding pieces of film, holding it up to the light, and seeing exactly where something was image-wise.

Sometimes I've gotten photographs back and people have literally shaven off pieces of me, and I tell them to put it back.

I think when you look at architectural photography it doesn't help to have piles of old clothes lying on the floor. Architectural photography sets up an artifice.

I'll never forget the modelling shoot I did in the Bahamas on a pink sand beach at Harbour Island. It felt like I'd just landed in paradise; it was so beautiful.

I never shot on sets, but if I was traveling somewhere or on location, I would always have my camera, and I'd always be - it's that kind of fly on the wall approach to photography, though. I don't engage the subject. I like to sneak around, skulk about in the dark.

I've realised that there's art in everything we do in London. Suddenly, a photo of two boys sitting on a wall in tracksuits with a dog can go online and be considered a sick photo. That's what we've done to London.

One of my challenges was to try to photograph the Great Wall of China. And I did actually take some photos, but it was hard to discern the wall with the naked eye.

You find a lot of junk when you're searching through lost and tossed photo ephemera, but every so often you'll find a gem, a wallet-sized masterpiece you're certain could hang on the wall of a gallery if only someone with a name had taken it. Find one or two of those and you're hooked for life.

'Woman on the Plaza,' with its distinct horizon, snow-like surfaces, wintry wall, stunning sunlight, sharp shadows, and hurrying figure, would become the most biographical of my photographs - an abstract image of the landscape and life of northern Ohio where I grew up and first practiced photography.

You'll reach into your wallet to brandish a photograph of a new puppy, and a friend will say, 'Oh, no - not pictures.'

I keep Polaroids in my wallet of me and my friends.

A saboteur in the house of art and a comedienne in the house of art theory, Lawler has spent three decades documenting the secret life of art. Functioning as a kind of one-woman CSI unit, she has photographed pictures and objects in collectors' homes, in galleries, on the walls of auction houses, and off the walls, in museum storage.