I think photographers are too polite. There is not enough anger in photography; it’s pretty much trivialized.
I’m not a religious person. The language of photography is symbolic.
I just wanted to be creative, so I did photography, and that led me ultimately to music.
My style is in the 21st century. If you look at the process, it goes from photography through Photoshop, where certain features are heightened, elements of the photo are diminished. There is no sense of truth when you’re looking at the painting or the photo or that moment when the photo was first taken.
Photography, as we all know, is not real at all. It is an illusion of reality with which we create our own private world.
I would say, if I had any hobbies, I love photography. I love taking photographs.
Photography has always been about documentary, the depiction of the instant, a moment, sometimes a place. Each project is somehow an experimentation of a specific context or a character.
I find it some of the hardest photography and the most challenging photography I’ve ever done. It’s a real challenge to work with the natural features and the natural light.
Look at lots of exhibitions and books, and don’t get hung up on cameras and technical things. Photography is about images.
I think when you look at architectural photography it doesn’t help to have piles of old clothes lying on the floor. Architectural photography sets up an artifice.
The arts equally have distinct departments, and unless photography has its own possibilities of expression, separate from those of the other arts, it is merely a process, not an art.
There is no question that photography has played a major role in the environmental movement.
The main thing I love about street photography is that you find the answers you don’t see at the fashion shows. You find information for readers so they can visualize themselves.
I just don’t like to do photography for money.
I would love to study photography.
Back in the day, I actually studied photography in Florence for a few months, and my photography teacher took away my digital camera and said, ‘No, use this – it’s analog and it’s square.’ It was a Holga camera, a very cheap $3 or $4 plastic camera. And that’s what inspired ‘Instagram’.
Photography has always been a passion of mine, but I began to study light field photography when I was in the Ph.D. program at Stanford University.
I think that’s the strength of photography – to decide the decisive moment, to click in the moment to come up with a picture that never comes back again.
With photography, I always think that it’s not good enough.
The nature of photography has always resisted that temptation of interpretation. I look, and what I see looks back at me.
I had decent but not great grades in high school because I was highly motivated in some subjects, like the arts, drama, English, and history, but in math and science I was a screw-up. Wooster saw something in me, and I really flourished there. I got into theatre, took photography and painting classes.
If people are fans of ‘Mindfreak,’ they are going to be so excited with ‘Believe.’ They are actually going to see those illusions that people think can only happen with trick photography.
When you think about it, media’s the intersection of content and technology – it’s all about storytelling, like photography and the camera.
For me, photography is not just about exposing film, it’s about exposing the viewer to something new, a place they haven’t gone before, but most importantly, to people that they might be afraid of.
The really simple approach to photography is a great balance to making the films.
I’m studying art and photography, like film and digital – a mix of both.
I love photography… I’d like to write a show about photography.
There are some elements of digital photography that I don’t really like, such as the fact that you see the results immediately.
The clue to book jacket photography is to look friendly and approachable, but not too glamorous.
I felt like I was in the best photography school in the world – I had Herb Ritts, Bruce Weber, Richard Avedon and Irving Penn teach me.
Photography forces one out into the world, interacting with people and the environment. It flexes all those right brain, spatially-adept muscles.
I studied photography in high school, and straight away, I knew it was something I was interested in.
Photography led me to experiment in graphic work and, actually, painting.
Richard Avedon is a true genius of photography and one of the greatest artists of our time.
Archaeologists have used aerial photographs to map archaeological sites since the 1920s, while the use of infrared photography started in the 1960s, and satellite imagery was first used in the 1970s.
Speaking of photography, while the Apollo 8 crew shot hundreds of photos, there was one that got everybody’s attention: a blue-and-white Earth rising over a gray moonscape.
The New York world is definitely geared toward fashion. So many people work in the fashion industry, photography, all sorts of satellite businesses that have to do with it, so there’s no way that it can’t affect you, and it just kind of makes you think with more of a fashion edge.
Photography is very presumptuous. Photographers are always photographing other people’s lives – something they know nothing about – and drawing great inferences into it.
Even when political reporting is not reduced to personality, political photography is. An article might offer depth and complexity, but is illustrated with a photo of one of the 10 politicians whose picture must be attached to every news story.
Part of the role of photography is to exaggerate, and that is an aspect that I have to puncture. I do that by showing the world as I really find it.
Everything I do, it’s a bit painterly. I like being surrounded by objects, mostly on paper. I like the images. I like the painting. I like good photography. It’s something that makes me an emotional connection, and I feel comfortable around it.
I’ve always believed that photography is a way to shape human perception.
The world of fashion and fine arts in New York really took me by surprise, and photography has helped me through a period of personal turmoil. I am glad when people like my portfolio, but its aim is – or was – to keep me at peace.
Maybe I’ll paint, do photography, just something else. I can see that.
All I really wanted to do was wildlife photography.
I realized that one of the differences between news photography and dance photography was that the former has to tell a specific story, whereas all a dance photograph had to be was visually interesting.
The problem for me is that I’ve never actually studied photography, so it’s quite a steep learning curve. Cameras these days do so much for you automatically but I still think there’s a point where you should actually know the technical side.
I went to university in Colorado and studied art history. I did some photography classes there, although it felt really pretentious.
I’m a photographer, period. I love photography, the immediacy of it. I like the craft, the idea of saying ‘I’m a photographer.’
One of my passions is photography. I always carry a camera in my bag whenever I travel. I always take pictures wherever I go, and some of them end up being really crazy ones.
What makes photography a strange invention is that its primary raw materials are light and time.
Photography is truth. The cinema is truth twenty-four times per second.
Landscape photography is the supreme test of the photographer – and often the supreme disappointment.
Photography started as a means of getting reference material for my paintings of nature subjects.
In my teens I was interested in photography. Then I decided that I should learn something about the world of commerce. And I came to America at age 17 to escape Europe. I went to NYU – nothing better than being 17 years old and coming to New York.
Now, when I came on to Washington to begin my job, I was so interested in photography at that time that I really would have preferred to work with Stryker than with my department, which was more artistic if you wish.
Visual ideas combined with technology combined with personal interpretation equals photography. Each must hold it’s own; if it doesn’t, the thing collapses.
There’s something really magical about trying to see things in new ways that go beyond, in some sense, the biological human experience. Light-field photography, too, goes beyond the human experience because our eyes work like conventional cameras.
