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... the possibility of one particular photographer's pictures lying around the corner is never realized until the photographer is there. It's one of the enigmas of photography.
I seldom think when I take a picture. My eyes and fingers react - click. But first, it's most important to decide on the angle at which your photograph is to be taken.
I like the stories. I like the narratives that you get in fashion photography. And I like what the clothes do to the body - the patterns and stripes and all of that.
It's just seeing - at least the photography I care about. You either see or you don't see. The rest is academic. Anyone can learn how to develop. It's how you organize what you see into a picture.
Everything is a subject. Every subject has a rhythm. To feel it is the raison detre. The photograph is a fixed moment of such a raison detre, which lives on in itself.
No matter how advanced your camera you still need to be responsible for getting it to the right place at the right time and pointing it in the right direction to get the photo you want.
Photography and writing are marvelous distractions from painting. I might even have found movies more interesting than photography. I tried it a bit, but not enough.
Actually, I'm not all that interested in the subject of photography. Once the picture is in the box, I'm not all that interested in what happens next. Hunters, after all, aren't cooks.
I am neither an economist nor a photographer of monuments, and I am not much of a journalist either. What I am trying to do more than anything else is to observe life.
What's happening is that people are making a billion photographs a year of their cats, frequently with the cats wearing costumes. Do you think I should be doing shows of cat photography?
Photography is a tool for dealing with things everybody knows about but isn’t attending to. My photographs are intended to represent something you don’t see.
They were ... pure and unadulterated photographs, and sometimes they hinted at the existence of visual truths that had escaped all other systems of detection.
I thought New York had it coming, that it needed a kick in the balls. When I returned to New York, I wanted to get even. Now I had a weapon, photography.
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.