Top 240 Photographs Quotes

Our photographs are filthier and our stories are more disgusting. We make no effort to be artistic.

The only thing I have done religiously in my life is keep a journal. I have hundreds of them, filled with feathers, flowers, photographs, and words – without locks, open on my shelves.

I love looking at old photographs. I don’t know if it’s something that gets more appealing as one gets older and you’re trying to get a sense of your place in the world and the little area that your life has taken up.

The greatest work of art about New York? The question seems nebulous. The city’s magic and majesty are distilled in the photographs of Alfred Stieglitz and Paul Strand.

I watched the first week of ‘Hell’s Kitchen’. It was fascinating to see Marco Pierre White because I’ve only ever seen him in moody photographs.

Sepia in particular tends to make everything look a bit romantic and almost sentimental, hence the fact that it remains such a popular choice for wedding photographs.

During the winter when the weather is too poor to work outside, I do use drawings and photographs, but I change my work so it is not just a time and place study.

Since 1970, I’ve been using text and ephemera as well as photographs in order to tell stories of one kind or another. There’s a thread that runs through all the work that is to do with bearing witness. The photographs are about asking questions, though, not answering them.

The Narrator of ‘A Sport and a Pastime’ is an American photographer living in a borrowed house in what he calls ‘the real France,’ Autun, a small town where he hopes to take some career-changing photographs in the spirit of Atget.

I make video art pieces, take photographs, and dabble in acting ever since my screen test for ‘Memoirs of a Geisha’ with Steven Spielberg. But music is my first love and always will be my priority.

There are particular images that I like. Allegro is composed of a series of still life photographs that has been put to speed. There is so much care that has gone into the composition of the cinematography.

Putin himself is a character out of fiction, an uber-macho former Soviet thug running a massive, expansionist kleptocracy. The man stages photographs riding horses barechested and hunting tigers. His enemies find themselves on the wrong end of radioactive poisoning.

I always say that I don’t want to be sentimental, that the photographs shouldn’t be sentimental, and yet, I am conscious of my sentimentality.

Something happens between a novel and its reader which is similar to the process of developing photographs, the way they did it before the digital age. The photograph, as it was printed in the darkroom, became visible bit by bit. As you read your way through a novel, the same chemical process takes place.

I always take photographs when I attend a funeral. Most people there know who I am and expect me to be there with my camera.

I look back at old photographs and videotapes, and I go, Who was I trying to be? Who was I doing this for?

There are no rules for good photographs, there are only good photographs.

In so many instances, there has been an attempt to rewrite history. And many times, on photographs, Martin and I were marching together, hand in hand; they cropped the photographs and left me out.

‘Sugarcoat the Galaxy’ is inspired by color-inflected photographs of galaxies. It likens sounds to spun sugar and confection, wrapping static harmonies inside energy and pace.

Animal rights activists talk about cruelty and torture, some backing their assertions by publishing out-of-date photographs of ‘experiments’ banned long ago. This is a misrepresentation. The work we do is performed with compassion, care, humanity and humility. I have never seen an animal suffer pain.

Take a random selection of photographs of America in 2012 and 2002 and 1992 and, except for the skinny jeans and the porkpie hats, you’ll be hard-pressed to tell the years in which the pictures were taken.

I’ve spent a lot of time in India. When I was a young cinematographer, I was completely enthralled by the color, the movement, the sounds. But photographically, it was very hard to capture it; photographs rarely did it justice.

I would love to direct a western. I love taking photographs and I’m always fascinated with angles. Also, my father was a film editor, and I have a talent for thinking of things that aren’t always in a script.

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

I happen to take photographs, and they happen to be used for a lot of things, but they’re not really made to order. They’re paid for, but they’re not made for order. I’ve never really done real commercial work.

I should be getting photographs of me with my arm around these people like restaurant owners do, because eventually I am going to have to prove to my kids that once I was an actor!

Laurie Simmons began showing her photographs in New York in the late ’70s: black-and-white and then candy-colored scenarios with plastic dolls in 1950s-style domestic interiors.

It is a little weird seeing photographs from parties where you didn’t even know a photographer was there.

I have learned to be as strong and confident as the women I represent in photographs.

I’ve always painted or drawn pictures or taken still photographs; now I shoot movies. It’s just about making images, really.

I don’t use composers. I research music the way I research the photographs or the facts in my scripts.

I’m not a businesswoman… I never looked after my negatives and you need that to prove you took the photographs.

Photographs are things that should be pinned on a wall, and when you stop liking them – just tear them up!

I love photographs. I love taking photographs. When I see something that’s great, I want to capture that. You put it out there and on a place like Instagram you can put it there and review it later.

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.

Fashion had no interest for me. I would take photographs in the studio. I would go back home, and my wife would say, ‘What is the fashion like for this season?’ And I would say, ‘I have no idea.’

You have to see a building to comprehend it. Photographs cannot convey the experience, nor film.

Biographers search for traces, for evidence of activity, for signs of movement, for letters, for diaries, for photographs.

We musicians often get inspiration from films and books or photographs, not only by music.

I mean, taking photographs is a very nasty thing to do. It’s very cruel.

A photograph can make you feel so many different things. When you look at war photographs of Vietnam, or something similar, it makes you feel anguish and sadness and pain. Then in other moments, when you look at Jackie Kennedy walking down Fifth Avenue, that makes you feel glory and richness.

I have a lot of respect for these rock photographers. You realize that some of them were really led into the inner circles of some of these artists and bands. And you see how those photographs really capture the artist, the moment.

I’ve been taking photographs since I was a teenager, and fashion has taught me a lot more about photography. It’s definitely inspired me.

For me, I’ve got no interest in being a celebrity, and I have no interest in doing photographs, going to this party or that.

I’ve exhibited quite a few of my photographs. I expand them digitally till they’re very big. It’s an art school thing, I suppose.

Most of the photographs people take with their cameraphones are of little value in terms of documentary.

When words become unclear, I shall focus with photographs. When images become inadequate, I shall be content with silence.

Appropriation is the idea that ate the art world. Go to any Chelsea gallery or international biennial and you’ll find it. It’s there in paintings of photographs, photographs of advertising, sculpture with ready-made objects, videos using already-existing film.

When I was out in Georgia doing photographs, I found myself trying to undo my own sense of composition. I’d think, ‘Why do I want to take it like this? Is it because I want to take a beautiful picture?’ It’s quite hard to try and undo it.

Seeing photographs of my dad, Bert, on the beach with a knotted handkerchief on his head to avoid getting sunburn still brings a smile to my face.

Ever since the 1860s when photographers travelled the American West and brought photographs of scenic wonders back to the people on the East Coast of America we have had a North American tradition of landscape photography used for the environment.

I like to undress women – not to dress them. You know, like Manet’s ‘Olympia’ or Helmut Newton’s photographs – naked women with shoes. This is what I am trying to do.

I always liked taking photographs.

But empirically I’ve come to understand that my photographs really don’t do any harm.

A wiretap allows government agents to collect, listen to, read, rifle through and store emails, snail mail, phone calls, text messages, photographs, bank records – you name it.