Photograph Quotations

I don't know what my formula is. I only know I like my characters to walk in clouds. I like a little bit of the fairy tale. Let others photograph the ugliness of the world. I don't want to distress people.

'Changes in Latitudes' began when I was looking at a photograph of a sea turtle swimming underwater. I had such a strong feeling for the beauty of this ancient creature, at home in the sea. On the spot, I wanted to swim with that turtle. I began to imagine a character who would do just that.

Photographers must learn not to be ashamed to have their photographs look like photographs.

Photographers usually want to photograph facts and things. But I'm interested in the nature of the thing itself. A photograph of someone sleeping tells me nothing about their dream state; a photograph of a corpse tells me nothing about the nature of death. My work is about my life as an event, and I find myself to be very temporal, transient.

I don't pay attention to celebrities. I don't photograph them. They don't dress so... interestingly. They have stylists. I prefer real women who have their own taste.

In my view you cannot claim to have seen something until you have photographed it.

To take a photograph is to participate in another person's mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time's relentless melt.

War is hell. You can't photograph a flying bullet, but you can capture genuine fear.

If someone is nice enough to come up to you and tell you how much they enjoy your work, and all they want in return is to take a photograph and for you to chat for five minutes, then I am delighted to do that.

Our dreams are made of real things, like a shoebox full of photographs.

I look back at photographs and I remember at the time I thought I was not very attractive.

Getting a new passport took me a stupid amount of time. I had to go back five times with different photographs because they kept saying I was smiling, which is against the rules. I was not smiling.

I have just one black and white photograph left of my mother when she was younger. She was 17 when it was taken and beautiful with wispy curls and eyes that shone like dark marbles.

In my photographs it is apparent that there was no posing at the moment I released the shutter.

I never question what to do, it tells me what to do. The photographs make themselves with my help.

The photographs that are art have to be separated from the rest - then preserved.

Photography obviously lends itself so well towards fashion. It's capturing that moment and that inspiration, and as a designer you are constantly walking through the world assimilating those visual references you have and so being able to solidify that into a photograph and keep it on your mood board is essential to creating a collection.

I want my photos to be fresh and urgent. A good photograph should be a call to arms.

Everyone has seen photographs of Mexicans wearing those big sombreros. When you come to Mexico, the astonishing thing is, nobody wears these hats at all.

I don't have lights, I don't have assistants, I just go and meet somebody and take a photograph. That's really basic, and that's how I used to work when I was 17 or 18 in Holland.

There's a discipline. When you take someone's portrait, you don't have to take 50 photographs, just find that one so that when you release the shutter, that's the image that you took.

I became an adult in an extreme way. I was recently sorting some old photographs and I found another.

You get a lot of people requesting photographs but I tend to keep myself to myself, pull my cap down.

Last Friday night, I Twitted a photograph of myself that I intended to send as a direct message as part of a joke to a woman in Seattle. Once I realized I posted to Twitter I panicked, I took it down and said that I had been hacked. I then continued with that story, to stick to that story which was a hugely regrettable mistake.

I choose colors I like and will photograph well. I don't do color theory!

I have a vision of life, and I try to find equivalents for it in the form of photographs.

I love sharing photographs and websites, I'm for all of these things. I'm for Facebook. But to say that this is sociability? We begin to define things in terms of what technology enables and technology allows.

After Hiroshima was bombed, I saw a photograph of the side of a house with the shadows of the people who had lived there burned into the wall from the intensity of the bomb. The people were gone, but their shadows remained.

I would drown in objects if I didn't have the ability to photograph them.

I like photographs which leave something to the imagination.

My pictures are my eyes. I photograph what I see - and what I want to see.

However spontaneous I hope a photograph will look, I always put a lot of thought into how I can make it happen. The very best pictures are the most relaxed, so a lot of fussing around technically can completely break the spell, and everyone freezes up with nerves.

I was drawn to street photography because there are pictures everywhere there: a woman holding a dog, a baby screaming to be put in a pram, kids playing punch ball, stores with huge barrels of kosher pickles outside. I wanted to photograph life, and here it was.

The viewer must bring their own view to a photograph.

You'll reach into your wallet to brandish a photograph of a new puppy, and a friend will say, 'Oh, no - not pictures.

A person shows himself for an instant as in a photograph but clearer and in the background something which is bigger than his shadow.

When we find a fossil, we mark it. Today, we've got great technology: we have GPS. We mark it with a GPS fix, and we also take a digital photograph of the specimen, so we could essentially put it back on the surface, exactly where we found it.

Light is everything in photographs and has to be considered in all situations.

I'll see a photograph of a character and try to copy them on to my face. I think I'm really observant, and thinking how a person is put together, seeing them on the street and noticing subtle things about them that make them who they are.

It is not enough to photograph the obviously picturesque.

I'm trying to photograph an old offshore oil city that is lying in decay in the Caspian Sea, but I've been having a hard time getting there.

Luckily, many other people tell me how they have had a particular landscape photograph of mine in their office or bedroom for 15 years and it always speaks to them strongly whenever they see it.

Like, if you look at Heidi Montag, who got 10 surgeries she didn't need, I think that's unfortunate. I've always been voluptuous with a big butt, but didn't have boobs, so I wanted my body balanced out. My nose was fine in real life, but it didn't photograph well, so I had it tweaked for my line of work. I'm very happy with it.

For me, every photograph is a portrait; the clothes are just a vehicle for what I want to say. You're photographing a relationship with the person you're shooting; there's an exchange, and that's what that picture is.

A photograph is always invisible, it is not it that we see.

Carloads of tourists would photograph the family mailbox, and there was weird mail, death threats.

I took individual photographs of Annie Liebovitz, I kept taking her picture.

I find still photographs make me quite self-conscious,

Esquire, in a July, 1957 issue, has a photograph of me playing the French horn at the Five Spot.

The train we had so confidently boarded had been speeding at almost 100 miles an hour and it had derailed. Someone, I can't remember who, showed me a newspaper photograph of the carriage we had been sitting in tilted on its side on a station platform next to a large notice that said Welcome to Potters Bar.

Im just interested in what makes a photograph.

Certainly, people feel awkward when they have their photograph taken. They want to see it, but they don't want to see it.

You can't see fear or lust; you can't photograph someone's anxieties, how disappointment feels. Photographs are approximations.

Photographs aren't accounts of scrutiny. The shutter is open for a fraction of a second.

I was looking at a photograph of the 1997 election campaign yesterday, and I thought: 'My God. Did I really have that hairstyle? And that Tory blue suit?'

I like to feel that all my best photographs had strong personal visions and that a photograph that doesn't have a personal vision or doesn't communicate emotion fails.

I don't know how many millions of photographs have been taken of me.

In almost every photograph I have ever made, there is something I would do to complete it. I take that to be the spirit hole or the deliberate mistake that's in a Navajo rug to not be godlike, but to be human.

If they want a photograph, then just take it.

I would love to photograph Stephen Hawking. I am just fascinated by science, I really am.

No, I do a bunch of things to entertain myself. I paint, I make music, I take photographs.

The planets are never the same twice, they're always different, so they could compare the markings I had drawn with their current photographs and they knew that I was drawing what I was really seeing and it wasn't copied from somewhere.

The photographs of Iraqi prisoners being subjected to degrading and humiliating treatment by their captors, and the reports of acts of sexual abuse, physical abuse, and other acts of maltreatment shock the conscience.

I want to photograph what I see and put it in a dramatic context. I'm an actor and a writer, and I want to tell these stories and present these shapes, colors and movements as I see them, as I see them serve a narrative. As I see that narrative serve an audience. That's what I want to do.

I hate my picture being taken. A photograph by definition captures one mood. And I have a million facets to my personality; I never use just one. That's why I like TV more.

I probably get a deeper satisfaction of having taken a very good photograph than of having written something very good, a very good story. Maybe it's because the element of magic is so present in a good photograph - luck and magic, but also hard work and being ready and all that.

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

Some people, myself in particular, have an adversarial relationship with the camera, and it sprouts up in every photograph.

Most photographs, to me, are description, but they lack insight.

In 3-D filmmaking, I can take images and manipulate them infinitely, as opposed to taking still photographs and laying them one after the other. I move things in all directions. It's such a liberating experience.

I fight to take a good photograph every single time.

I threw away the whole of my working history, my photograph albums, diaries and stage clothes. Shoving big, ugly discs on walls is a bit like rubbing people's faces in it, saying 'I am considerably richer than you.' It is completely unnecessary.

My mother's favorite photograph was one of herself at twenty-four years old, unbearably beautiful, utterly glamorous, in a black-straw cartwheel hat, dark-red lipstick, and a smart black suit, her notepad on a cocktail table. I know nothing about that woman.

I like to be fascinated by the people I photograph. Sometimes I don't admire them but I'm interested in them.

In Majorca, I can be myself. I go to the supermarket and the cinema, and I am just Rafa. Everyone knows me, and it is no big deal. I can go all day - no photographs.

Everything rational and sensible abandons me when I try to throw out photographs. Time and time again, I hold one over a wastebasket, and then find it impossible to release my fingers and let the picture drop and disappear.

I have never seen a picture of my mother. My mother's family never owned a photograph of her, which tells you everything you need to know about where I'm from and what the world was like for the people who gave me life.

With the Larry Bertlemann portrait, I started with a photograph that I could use for it. I built the drawing's identity to serve as a graphic identity. After a number of sketches, I went into my own abstract vernacular of drawn lines and shapes to create the composition for the poster design.

I never wanted to be famous. I always wanted to take famous photographs.

I have no interest in being famous. I just want to make famous photographs.

All we ever see of stars are their old photographs.

Actually, documentary pictures include every subject in the world - good, bad, indifferent. I have yet to see a fine photograph which is not a good document.

I have yet to see a fine photograph which is not a good document.

I've always said that the only thing a photograph is good at capturing faithfully is another flat surface.

Great claims are being made for the photograph as truth. We are showing you things, we show you the war. I say you can't actually. The camera can't.

The greatest photographs are motivated by human feeling.

I never really made any money and it certainly cost me more to take photographs than I got for them.

I went back to photography in the 1990s. But from the 60s to the 90s I didn't really take any photographs at all, unfortunately. During that period I lived in France, I lived in England, I lived all over the place in different cities. I didn't take any photographs and because I felt I had really accomplished everything that I wanted to in photography during the period between 61 and 67.

One thing that struck me early is that you don’t put into a photograph what’s going to come out. Or, vice versa, what comes out is not what you put in.

Lately I've been struck with how I really love what you can't see in a photograph. An actual physical darkness. And it's very thrilling for me to see darkness again.

I don't take any photographs. I travel a lot by myself, and I feel weird taking photos on my own.

I didn't throw myself off my balcony only because I knew people would photograph me lying dead.

But I do not know whether the photograph can, or does, say things as they really are. Something has been lost. But the representation is all we have.

When I was a stylist, when we would photograph restaurants I was often hired to clean up the chef's stuff if they hadn't already done it.

A photograph is a souvenir of life!

She walked about with the rather fated expression you see in photographs of girls who have subsequently been murdered, but nothing had so far happened to her.

[He] didn’t like to think of himself as vain, but there were definitely times when he wished there was someone on hand to take his photograph.

One of the workshop participants had shown me a single 8 X 10 photograph of a power plant where he actually was the general manager of this power cooperative. It was quite magical to me.

Now you've gotta spend two thousand bucks to stay at my house. And for five, I'll let you photograph my wife in the shower.

I did photograph Angelina Jolie up in Vancouver when she was making 'Life Or Something Like It', and they gave me the drawings they wanted me to photograph of her up there, but she didn't really care for them that much, and ultimately they weren't even used.