Photography Quotes - Page 120

I believe there is no more creative medium than photography to recreate the living world of our time. Photography gladly accepts the challenge because it is at home in its element: namely, realism - real life - the now.

What to me is anathema - a corpse-like, outmoded hangover - is for photography to be a bad excuse for another medium. ... Is not photography good enough in itself, that it must be made to look like something else, supposedly superior?

To chart a course, one must have a direction. In reality, the eye is no better than the philosophy behind it. The photographer creates, evolves a better, more selective, more acute eye by looking ever more sharply at what is going on in the world. Like every other means of expression, photography, if it is to be utterly honest and direct, should be related to the life of the times-the pulse of today. The photograph may be presented as finely and artistically as you will, but to merit serious consideration, must be directly connected with the world we live in.

Abstraction in photography is ridiculous, and is only an imitation of painting. We stopped imitating painters a hundred years ago, so to imitate them in this day and age is laughable.

I wanted to combine science and photography in a sensible, unemotional way. Some people’s ideas of scientific photography is just arty design, something pretty. That was not the idea. The idea was to interpret science sensibly, with good proportion, good balance and good lighting, so we could understand it.

Now, my knowledge of photography was terribly limited.

Now, when I came on to Washington to begin my job, I was so interested in photography at that time that I really would have preferred to work with Stryker than with my department, which was more artistic if you wish.

The persistent problem in photography is how to look at it.

When we concentrate on photography, we make it possible to see the walls of photographs in black homes as a critical intervention, a disruption of white control over black images.

The fundamental belief in the authenticity of photographs explains why photographs of people no longer living and of vanished architecture are so melancholy.

It has been important to me, as an historian of photography, to understand photography by photographing.

The magazine business is dying. It's a hard time for publishing. It does seem that everyone is much more opinionated now. I think there's probably more room for making opinionated illustrations. There was a time when Time magazine and Newsweek would have a realistic painted cover. A friend of mine used to do a lot of those paintings and he was told by the art director at one point, we are switching to photography. It seems that if someone saw a painting on a cover, it took a while to do, it must be old news. Photography became more immediate.

... the thing that's happening today vis-á-vis computer imaging, vis-á-vis alteration, is that it no longer needs to be based on the real at all. I don't want to get into jargon - let's just say that photography to me no longer pertains to the rhetoric of realism; it pertains more perhaps to the rhetoric of the unreal rather than the real or of course the hyperreal.

Photography has saturated us as spectators from its inception amidst a mingling of laboratorial pursuits and magic acts to its current status as propagator of convention, cultural commodity, and global hobby.

The majority of America's colossal fortunes have been made by entering industries in their early stages and developing leadership in them.... Think of what opportunities the present and the future contain in such fields as ship-building and ship-owning, aircraft, electrical development, the oil industry, different branches of the automotive industry, foreign trade, international banking, invention, the chemical industry, moving pictures, color photography, and, one night add, labor leadership.

That the outer man is a picture of the inner, and the face an expression and revelation of the whole character, is a presumption likely enough in itself, and therefore a safe one to go on; borne out as it is by the fact that people are always anxious to see anyone who has made himself famous. Photography offers the most complete satisfaction of our curiosity.

I don't write as many songs as I used to. But, I find myself writing for social media more - times have changed. And I love photography, so a lot of my creative energy gets caught up that way.

My photography has really always been about what I feel I'm getting out of it. What people on the outside get doesn't concern me.

Apart from photography and music videos, I also do graphic design.

I don't think I treat my film work as an extension of my photography. There are two different sets of rules there.

The really simple approach to photography is a great balance to making the films.

Photography has escalated almost exponentially! It is a language which covers almost every aspect of communication; factual and expressive.

I think photography is being recognized and collected. Its values have certainly gone up and continue to go up.

I am probably afraid that some spectator will not understand my photography - therefore I proceed to make it really less understandable by writing defensibly about it.

There still is some opposition to it in some museums and art schools, but I think photography has really grown into a mature art form.