Photography Quotes - Page 94

The photographer must bear the responsibility for his work and its effect …[for] photographic journalism, because of its tremendous audience reached by publications using it, has more influence on public thinking than any other branch of photography.

Most photographers seem to operate with a pane of glass between themselves and their subjects. They just can't get inside and know the subject.

Stay open to as many new tools and think of as many ways you can to utilize them to your advantage. This not only includes equipment and hardware but also software or apps like Sun Seeker and social media outlets like Instagram and Twitter to build community.

Even in manipulating the images, I would like to do my dailies in a digital way because you can do so many things in that stage that I cannot do in real photography.

In fact, I probably learned more about photography from studying black-and-white photography in those magazines [Look Magazine and LIFE Magazine] than I did from watching movies here. That's the truth.

One of the most recent things we did [in Perceval Press] is a reissue of a fantastic documentary about Russian prison tattoo culture by Alix Lambert called The Mark of Cain. We've done books from Twilight of Empire, that actually has forewords by Howard Zinn and Dennis Kucinich and others, to books of poetry, photography, painting - all kinds of books.

To do a portrait today, I decide how close I can get to my subject. First, of course, mentally or intellectually, then in the viewfinder. Music cues the subject and me when to shoot. The music played during a photography session is most important - stimulating to the subject and to me. As in a film, the music builds or becomes quiet, romantic; just one note sets the actor up to emote for his audience. I want a reciprocal portrait, not a bureaucratic one

When photography was invented, people had to make room in their minds for the idea that the dead would always be visible.

As the possibilities for straightforward photography seem to have become exhausted it has been the photographers who know about the history of art, not simply the history of photography, who have shaped important directions for the future.

...throughout the history of art it has been art itself - in all its forms - that has inspired art...today's photographs are so geared to life that one can learn more from them than from life itself.

I really enjoy the iPad because you can multi-task: I can watch a movie, read, look at pictures that I shot - because I'm into photography. It serves a lot of purposes for me.

Tactility was rejected in conceptual photography. I embrace the possibilities of my medium. Surface, texture, and tactility is something analog photography can do well, or it is something I can do well in analog photography. It can be hard to know what or who is in control.

I try to use photography to move people to action to save the wildlife in our beloved ocean.

Photography is a very forgiving medium. Anybody that can afford film and a camera can make pictures.

I came to photography with the desire to conquer this machine, the camera, and make it my slave. Instead, I have now a respect for it and all machines as expanders of my awareness.

I often wonder if it makes me a less interesting person, because it really is music that I geek out about exclusively. It's just everything to me. Those other things too a much lesser extent - photography, food, people - I geek out about people.

I believe that the (distorting) mirror which is photography holds an intrinsic, even elemental, relation to writing.

When I was at college, the idea of fashion was more immediate to me, whereas art photography, the depth of it, was a different thing. Storytelling - fanciful storytelling - can only be told through fashion photography. It's the perfect way to play with fantasy and dreams.

I've always thought that each album would be my last one, and then I would be out of ideas and I would move to photography or something. I thought it was transient and it's not because of this entrenched career stubbornness that I've done it for so long, it's just something I enjoy doing, and it's the most direct way I can express something.

I'm very old fashioned. I still believe in the image and the pictorial quality of the image. It seems that I'm still busy with a truth in photography.

Press information is serious information, but press information is also manipulated by people who want you to think that this and that happened. So it's the old thing that you still cannot trust photography at all or you have to know who is distributing the photograph. In terms of cell phone photography, I think nobody cares about a photograph anymore because they're taking so many pictures just for fun.

If you look at photographers who say, "I hate digital photography," they all use Photoshop, even if it's to make the sky just a little more blue than it was. Manipulation is very discrete and because it's so discrete nobody cares about it anymore. People accept manipulated photographs, I think.

You cannot explain the whole world in one photograph. Photography pretends. You can see everything that's in front of the camera, but there's always something beside it.

I approached photography the only way that I knew how to approach anything: as a job. I would get up, photograph all morning, stop and have lunch, and then, photograph all afternoon. I didn't think that I had to wait for some inspiration.

The camera does not know what it takes; it captures materials with which you reconstruct, not so much what you saw as what you thought you saw. Hence the best photography is aware, mindful, of illusion and uses illusion, permitting and encouraging it - especially unconscious and powerful illusions that are not usually admitted on the scene.