Photography Quotes - Page 110

Magazines that depend on photography, and design, and long reads, and quality stuff, are going to do just fine despite the Internet and cable news.

[The] arresting of time is photography's unique capacity, and the decision of when to click the shutter is the photographer's chief responsibility.

If acting doesn't work out, I plan to do food photography and just eat my way through the entire world. I'm a big foodie, and if I could make some career out of it, that would be fantastic.

I love photography, I love food, and I love traveling, and to put those three things together would just be the ultimate dream.

[Photography] underlines the photographer. That's the Barthesian this has been. Well, this has been for the photographer as well. The photographer is the hidden placeholder in the Barthesian equation.

My paintings have an ongoing dialogue with photography. There are many painters who would say the same, I'm sure. The difference is that I'm thinking more about the temporal aspect of photography, rather than the visual.

None of the editors I've worked with have ever asked me to pull my punches. They've never asked me to give them anything other than my own interpretation of events.

If Im feeling outraged, grief, disbelief, frustration, sympathy, that gets channeled through me and into my pictures and hopefully transmitted to the viewer.

I dont think tragic situations are necessarily devoid of beauty.

I want to record history through the destiny of individuals who often belong to the least wealthy classes. I do not want to show war in general, nor history with a capital H, but rather the tragedy of a single man, of a family.

[Photography] puts a human face on issues which, from afar, can appear abstract or ideological or monumental in their global impact.

I'm shooting a gangbanger, but as a dignified man. That's pretty much what war photography did: seeing images of soldiers in a dignified way. They might have been killers in Vietnam, but I'm seeing another side of them, and looking at images of the the American soldiers, also the North Vietnamese and the Viet Cong - I never saw an enemy.

There was a time in my life that I may not have been that nice, and now I'm in a position to contribute to the education of young people, and teach them to be compassionate, be more loving, more caring, to not use profanity, to not pollute the environment - these are things that I address in my photography. I

It was around the age of 18 when I started to feel like I had learned everything I could learn from being a model - modeling is a really incredible form of expression, but I got into modeling because I loved fashion so much and I really loved photography.

Photography ruins marriages, and I've been married three times - so there's a downside to it as well.

Photography is a holding together of opposites: Light and dark, beautiful and ugly, sublime and banal, concious and unconcious. I am still struck by the power of photography to strip away the bark of the mind and reveal the visceral workings underneath.

Part of the fascination that photography holds is its ability to unlock secrets kept even from ourselves. Like dreams, the photograph can uncork a heady bouquet of recognition which can escape into the cognitive world.

I don't know that there were any rules for documentary photography. As a matter of fact, I don't think the term was even very precise. So as far as I'm concerned, the kind of photography I did in the FSA was the kind of photography I still do today, because it is based on passionate concern for the human condition. That is the basis of all the work that I do.

I became kind of a drop-out in science after I came back to America. I wanted to photograph.

Very few people, thank God, look like the pictures of them which are published in the papers and the weekly magazines.

It is photography itself that creates the illusion of innocence. Its ironies of frozen narrative lend to its subjects an apparent unawareness that they will change or die. It is the future they are innocent of. Fifty years on we look at them with the godly knowledge of how they turne dout after all - who they married, the date of their death - with no thought for who will one day be holding photographs of us.

The subject I liked best was painting, but the teachers didn't approve of my experiments and sometimes criticized me in front of the whole class. Maybe my love for photography came from that humiliation: a photo is something that you develop and print yourself, in the dark, and that remains in the dark until you decide to show it.

If I see a nice photography book in New York, and I don't want to have to carry that back to Japan with me, I just order it from Amazon when I come home. There's no treasure-hunting anymore. It used to be like a hunt to find Air Jordans, Max 95s, and carrying them back.

You're suddenly seeing the coherence and the interconnectedness of everything, left to right, top to bottom, front to back. It's all connected, and, somehow, it's all in balance. And that's, of course, when you go, 'Yes!'.

In a world of disturbing images, the general body of photography is bland, dealing complacently with nature and treating our preconceptions as insights. Strange, private worlds rarely slip past our guard.