Eras Quotes - Page 6

Cameras get in the way of seeing.

I am a man of very many anxieties but doing strange things with the camera is not one of them.

One should really use the camera as though tomorrow you'd be stricken blind.

The head of the photographer is more important than his camera

My mustache has become this weird iconic representation of a certain era.

He owned an expensive camera that required thought before you pressed the shutter, and I quickly became his favorite subject, round-faced, missing teeth, my thick bangs in need of a trim. They are still the pictures of myself I like best, for they convey that confidence of youth I no longer possess, especially in front of a camera.

For those who were desperate, my camera became an object of hope (...)Throughout my year-long coverage of the monsoon world, my strongest conviction was that I was involved in the fundamentals of life.

Always carry a camera, it's tough to shoot a picture without one.

The complete disregard for the camera's presence indicates its complete saturation in their lives. The subject neither notices nor seems to care that someone has been invited into their private moment.

I myself have always stood in the awe of the camera. I recognize it for the instrument it is, part Stradivarius, part scalpel.

The camera gave me an incredible freedom. It gave me the ability to parade through the world and look at people and things very, very closely.

When you are a photographer, you work all the time, because your eye is the first camera.

I can use the camera to make a place or landscape; the camera to a greater extent projects rather than takes in or reproduces. The camera, or, rather, the eye, produces the impression of the place: I as a photographer am not passively taking in; I am active as a subject generating the object.

I can't tell if the world is worse now or if we just have more cameras. There are cameras everywhere, so now the world knows how bad the world is.

On 5 September, when the TUC unanimously rejected wage restraint, it was the end of an era, and all the financiers, all the little gnomes in Zürich and other finance centres about whom we keep on hearing, had started to make their dispositions in regard to sterling.

We talking about revolution because that's the era that you're caught in.

[A Polaroid camera] places before you a thing that is more of the thing than the thing was.

Strange, how such a small realization can affect everyone's life forever. In movies there is always a carefully staged moment - a big crescendo of music, close- ups of the actors' faces, the camera slowly pulling away to let all this sink in for the viewer...but, in real life, most all of the extraordinary things happen with no more loudness than a whisper.

The camera's a ballpoint pen, an imbecile; it's not worth anything if you don't have anything to say.

The easy bit is picking up a camera and pointing and shooting. But then you have to decide what it is you’re trying to say and express.

The task of the modern era was the realization and humanization of God – the transformation and dissolution of theology into anthropology.

I wanted [my photography] to appear as though the camera was seeing by itself.

I just happened to have my camera and be photographing my friends. It was totally innocent; there was no purpose to the photographs. There was a purity to them that wasn’t planned; it was realism.

When, at the end of the 1960s, I became interested in the Nazi era, it was a taboo subject in Germany. No one spoke about it anymore, no more in my house than anywhere else.

As a young person, and I know it’s hard to believe that I was shy, but you could take your camera, and it would take you to places: it was like having a friend, like having someone to go out with and look at the world. I would do things with a camera I wouldn’t do normally if I was just by myself.