Photography Quotes - Page 64

And friends of mine that had photography class in high school would develop the film and make prints and I'd take them back to the track and give 'em away or try and sell them. Much to my parents' dismay, I majored in photography in college.

Whatever it takes to get the image to reach that level is what that photographer needs to do. And for me, I just have such a love of the tactile and sensuous quality of a black and white silver gelatin print.

I really don't have any secrets. I've never met a photographer whose work I respected that had a secret because the secret lies within each and every one of us.

The camera relieves us of the burden of memory. It surveys us like God, and it surveys for us. Yet no other god has been so cynical, for the camera records in order to forget.

Objects in pictures should so be arranged as by their very position to tell their own story.

I don’t think there’s any such thing as male objectification

If I had to start over, I'd pursue photography - probably to the exclusion of acting.

Mapplethorpe presented the body as a sexual object, separating it from the humanity of the person. He added nothing to photography as a medium. I hold his work in low regard.

All aspects of photography interest me and I feel for the female body the same curiosity and the same love as for a landscape, a face or anything else which interests me. In any case, the nude is a form of landscape. There are no reasons for my photographs, nor any rules; all depends on the mood of the moment, on the mood of the model.

Photography is truth.

So-called "realist" photography does not capture the "what is." Instead, it is preoccupied with what should not be, like the reality of suffering for example.

I don't see light as something that falls, but as a positive force.

I love when pictures ask questions or make others ask questions.

Photojournalists know the horrors of war can only be exposed at close range. Kodak Film.

Many people in this world do jobs that are dangerous and where their life is at risk and they feel that there is some kind of value to their job I guess that's how I feel about what I do. There is a social function to documentary photography that is very important and it requires people to take risks.

I don't believe there's any such thing as objective reality. It's only reality as we experience it.

It can happen anytime, anywhere. I mean, you don't have to be in front of stuff that's going to make a good photograph. It's possible anywhere.

Inside movement there is one moment in which the elements are in balance. Photography must seize the importance of this moment and hold immobile the equilibrium of it.

All I care about these days is painting — photography has never been more than a way into painting, a sort of instant drawing.

There is a creative fraction of a second when you are taking a picture. Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera. That is the moment the photographer is creative. Oop! The Moment! Once you miss it, it is gone forever.

Photography is an adventure just as life is an adventure.

Perhaps there was more authentic danger in the photography that was banned - why shouldn't one be able to produce it? But this new enthusiasm finally caused us some trouble, and it suffices to say, if I remember correctly, that it was in this way that my thoughts turned to the young maidens.

What it all boils down to for me is having the enthusiasm to do something for enjoyment and being stimulated by what's around you. That's what photography does for me.

I was there less than a year before I was assigned to the Paris bureau. I spent two years there and, in fact, before I even went on the staff I was sent to Europe to do assignments which they wouldn't normally do for a young photographer just starting out.

Photography is the typical means of expression of a society founded on a civilization of technicians, conscious of the aims it has set for itself... Its power of exactly reproducing external reality, a power inherent in its technique, lends it a documentary character and makes it appear as the most faithful and impartial process for the reproduction of social life.