The camera is an instrument that teaches people how to see without a camera.
I wish more people felt that photography was an adventure the same as life itself and felt that their individual feelings were worth expressing. To me, that makes photography more exciting.
A photograph is not only an image (as a painting is an image), an interpretation of the real; it is also a trace, something directly stenciled off the real, like a footprint or a death mask.
The eye traffics in feelings, not in thoughts.
Making pictures is a very simple act. There is no great secret in photography...schools are a bunch of crap. You just need practice and application of what you've learned. My absolute conviction is that if you are working reasonably well the only important thing is to keep shooting...it doesn't matter whether you are making money or not. Keep working, because as you go through the process of working things begin to happen.
In photography there is a reality so subtle that it becomes more real than reality.
A way of certifying experience, taking photographs is also a way of refusing it - by limiting experience to a search for the photogenic, by converting experience into an image, a souvenir. Travel becomes a strategy for accumulating photographs.
I began to realize that the camera sees the world differently than the human eye and that sometimes those differences can make a photograph more powerful than what you actually observed.
It is not altogether wrong to say that there is no such thing as a bad photograph - only less interesting, less relevant, less mysterious ones.
When you see what you express through photography, you realize all the things that can no longer be the objectives of painting. Why should an artist persist in treating subjects that can be established so clearly with the lens of a camera?
Any time you talk about the look of the film, it's not just the director and the director of photography. You have to include the costume designer and the production designer.
In the absence of a subject with which you are passionately involved, and without the excitement that drives you to grasp it and exhaust it, you may take some beautiful pictures, but not a photographic oeuvre.
A photo is like a map, a way of giving me a foot into a kind of reality I want... I'm not trying to make paintings look like photos. I want to make paintings using photos as a reference, the way painters did when photography was first invented.
A camera has interesting ideas of its own.
Dodging and burning are steps to take care of mistakes God made in establishing tonal relationships.
The subject matter is so much more important than the photographer.
I think all art is about control, the encounter between control and uncontrollable.
Even though fixed in time, a photograph evokes as much feeling as that which comes from music or dance. Whatever the mode - from the snapshot to the decisive moment to multi-media montage - the intent and purpose of photography is to render in visual terms feelings and experiences that often elude the ability of words to describe. In any case, the eyes have it, and the imagination will always soar farther than was expected.
A photograph is always invisible, it is not it that we see.
My portraits are more about me than they are about the people I photograph.
The camera cannot lie, but it can be an accessory to untruth.
Leaving aside the mysteries and the inequities of human talent, brains, taste, and reputations, the matter of art in photography may come down to this: it is the capture and projection of the delights of seeing; it is the defining of observation full and felt.
A great photograph is a full expression of what one feels...
Emotion or feeling is really the only thing about pictures I find interesting. Beyond that is is just a trick.
We must avoid however, snapping away, shooting quickly and without thought, overloading ourselves with unnecessary images that clutter our memory and diminish the clarity of the whole.
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