Quotes of All Topics . Occasions . Authors
A family's photograph album is generally about the extended family and, often, is all that remains of it.
I don't believe so much in the value of a single picture anymore. I don't really photograph for the wall.
Photographs force us to see people before their future weighed them down, before they knew their endings.
I never photograph sunsets and I never photograph moonrises. I'm not interested in what things look like.
I love to photograph people in their own environment. It offers clues to what's important in their lives.
I love doing commercials! Usually, they have enough money that they can take time and photograph it well.
If the public photograph contributes to a memory, it is to the memory of an unknowable and total stranger.
I see myself in [the] tradition of encounter and witness - a witness that sees the photograph as evidence.
The photograph is a coarse fraud, and seems to delight only in taking the whole beauty out of the picture.
If everything that existed were continually being photographed, every photograph would become meaningless.
I felt like an undeveloped photograph that he was printing, my image rising to the surface under his gaze.
I was looking at the photographs and I started thinking that there was a time when these weren't memories.
I've always said that the only thing a photograph is good at capturing faithfully is another flat surface.
I went through a long period when I thought my photographs were not visible - on the wall, but not visible.
Looking at my own prom photograph reminds me of how significant that moment was - and how fleeting life is.
Nobody ever discovered ugliness through photographs. But many, through photographs, have discovered beauty.
I realize that as I get more experience as I get older, my perception changes and that feeds the photograph.
Some guys can run fast, some guys can sing, I found I could take photographs that people were interested in.
Unless it hurts, unless there’s some vulnerability there, I don’t think you’re going to get good photographs.
I only photograph myself at poignant moments in my life as a check of where I am and how large my thighs are.
Most of us, when we go out with a camera in our own country, try to find exotic subject matter to photograph.
It's harder to pick and choose when you're dead. It's like a photograph, you know. It doesn't matter as much.
I like to be fascinated by the people I photograph. Sometimes I don't admire them but I'm interested in them.
It's marvellous, marvellous! Nothing will ever be as much fun. I'm going to photograph everything, everything!
Even the photographs of Henri Cartier-Bresson, with all due respect to him, are notoriously burned and dodged.
I know most of the photographers in Ireland. And if I don't want my photograph taken, they will leave me alone.
If I feel confident wearing something, I think it translates in photographs. It changes my demeanor and posture.
I feel unbelievably blessed that I have had the opportunity to photograph Malala in her classroom in Birmingham.
The photograph reverses the purpose of travel, which until now had been to encounter the strange and unfamiliar.
I never look for a photograph. The photograph finds me and says, I'm here! and I say, Yes, I see you. I hear you.
I received my training at an art academy, so what I produce is art. That's what is artistic about my photographs.
Old pictures look very rugged and young, and the people in the photographs always seem a lot happier than you are.
With a documentary, you can cut away, you can do jump cuts, cut to a photograph at any point to bridge two scenes.
Photographs furnish evidence. Something we hear about, but doubt, seems proven when we're shown a photograph of it.
I photographed Alek Wek. She was amazing, and nobody knew about her then. It was a really strong photograph of her.
Before, I'd photograph anything. I didn't think there was anything more or less obscene about any part of the body.
The way you present a stunt is tied in to the way you photograph it, so you're hanging out with the cinematographer.
What most of us are after, when we have a picture taken, is a good natural-looking picture that doesn't resemble us.
I have no problem with someone wanting to take a photograph with me. It is a no for selfies with touching of bodies.
For me, there's something very romantic about going and looking at the stars and trying to photograph spy satellites.
I'm much more about the emotion that a photograph provokes out of you and less about how technically brilliant it is.
You'll reach into your wallet to brandish a photograph of a new puppy, and a friend will say, 'Oh, no - not pictures.
This is what I like about photographs. They're proof that once, even if just for a heartbeat, everything was perfect.
The more you photograph, the more you realize what can and what can't be photographed. You just have to keep doing it.
You'll reach into your wallet to brandish a photograph of a new puppy, and a friend will say, 'Oh, no - not pictures.'
A great photograph is one that fully expresses what one feels, in the deepest sense, about what is being photographed.
The photograph suggests that our image of reality is made up of images. It makes explicit the domination of mediation.
The particular qualities and intentions of photographs tend to be swallowed up in the generalized pathos of time past.
Photographs are detonators. They explode in us. We are the gaze as well as the gazed-at. The observer and the observed.
There is a word we haven't used yet: virginity... To make a photograph, the plate must be virgin, but your eye as well.