Photography Quotes - Page 100

Many photographers think they are photographing nature when they are only caricaturing her.

There are only two hard things in photography; which way to point the camera and when to release the shutter.

Photographers undervalue the use of a wastebasket in their pursuit of fine photography.

My enthusiasm for joining the New York Film Academy is predicated on my personal explorations into video as well as a sense of responsibility to share my extended experience of photography with committed students in both mediums.

I think a lot of times when people have "creative blocks" and I know my share of friends do as well if they're at just some stuck point. They're not sure what to do with their lives or their writing or their photography or their filmmaking or whatever it is that they're doing. I think the best advice is you have to change your life up completely; to go on a trip, to go spend a year being of service. Be willing to take some major drastic action to get you out of your comfort zone and go inside, not outside.

I'll be in #‎ Jharkhand along with Kaustav Narayan Niyogi, who is directing the film and my director of photography for location hunting. I want to lock the locations before Christmas as everyone goes into vacation mode after that.

It might sound crazy, but filming in a conflict zone, in Afghanistan, and being a female filmmaker was the easy part. I found people open and understanding of the importance and beauty of filmic storytelling. I never had to explain why Jake Bryant, my Director of Photography, and I were climbing up a ladder to get a high shot, or running ahead to get an arrival shot, or filming weeks after weeks, months after months, collecting so much material. The process was respected and honored.

Moreover, photography has made it possible to fix these images and now provides us with a permanent record of each observed spectrum, which can be measured out at any time.

Photography has always been a struggle for me to take seriously as an art form.

The greatest field of photography, for the literary interpretation of life, consists, to my mind, in its latent power to create, as it were, death for a single second. Any thing or person is, at will, made to die for a moment of time so immeasurably small that the return to life is effected without consciousness of the great adventure. (1928)

[Photography is a] hair-raising joy ride in a medium that, despite being a mechanical trick, can break down the division between mind and matter like a superhero, or an artist.

For photography to be an art involves reformulating notions of art, rejecting both material and formal purism and also the separation of art from commerce as distinct semiotic practices that never interlock.

Sixty-five days principle photography, five-day weeks, which is the only way I'll work. With my cinematographer Russell Boyd, we take as much time as possible before pre-production, looking at stills. The next most important thing: he will come to me and talk about lenses. And I'll see his plan, which is generally great, and I might talk about how the light will be, handheld or not? I talk very freely, and try not to talk specifically, just talk around it, because it can unlock all sorts of things.

Scientists are usually nice, organized, logical people who are very cooperative. I always learn a lot of science while shooting science stories and it helps to be able to speak intelligently to a subject about his or her field of work, i.e., do your homework before the photography.

As a senior in high school my counselor recommended that I soften my science and math direction with an art course. Fortunately my high school offered a new course in B&W photography, so I opted for that instead of art, towards which I had an aversion. Composition is something that comes pretty naturally to me and I appreciate ordered chaos: the photo class turned out to be fun.

In photography, the issue of the integration of form and content is exceptionally difficult because of the widely held belief that photographs must be a kind of vicarious experience of the subject itself.

[Photography] is the non-complacence of the eye. To practice my right to look is also a critical attitude. If I stare at you, I will make you uncomfortable, and culturally we have a difficulty of staring and being stared at.

The digital tools allow us to have control over what and how we can alter an image that was unimaginable in the era of analog photography.

Before, the myth of photography doesn't lie was used in order to cover up tricks. If I [make a] portrait [of] you, accommodate you, illuminate you, put make up on you or use a filter, am I not manipulating reality? The only difference is that now I can do it from the computer in the postclick instead of the preclick. If I decide to photograph something instead of something else, I also manipulate reality. Of course a photograph can lie or commit abuse, but it always could.

A movie is painting, it's photography, it's literature - because you have to have the screenplay - it's music. Put a different soundtrack to a comedy and it's a tragedy. A movie combines all those forms and forces you to pay attention for two hours with a group of people.

A movie is painting, it's photography, it's literature - because you have to have the screenplay - it's music. Put a different soundtrack to a comedy and it's a tragedy.

3D is very exciting. I love it. I'm a complete convert. Everything for me, from now on, is 3D. I'm completely convinced it's the future of home entertainment, as well as cinema entertainment. I think it's a paradigm shift, in terms of cinema, and those things don't happen very often. The introduction of sound, the introduction of color photography and now 3D have been the big shifts. They happen once every 40 or 50 years, so it's very exciting to be a filmmaker, working while one of them is happening.

I think that cinema and television have nothing in common. There is a breaking point between photography and cinema on the one hand and television and virtual reality on the other hand.

The mere notion of photography, when we introduce it into our meditation on the genesis of historical knowledge and its true value, suggests the simple question: Could such and such a fact, as it is narrated here, have been photographed?

From the moment that photography appeared, the descriptive genre began to invade Letters... In verse as in prose the décor and exterior aspects of life took an almost excessive place.