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You become technically proficient whether you want to or not, the more you take pictures.
I admire photographers that don't need a destination. In some ways, street photography is like that. There's a quality of wanderlust for sure in my work, but I need a destination.
I'm often uncomfortable taking pictures, especially if people are grieving, or hurt, or hungry. At such times I have to remind myself that I'm a photographer and that this is my job.
[The photographer's task] is to describe the existing light... Chances are, if you believe the light, you're going to believe that the things photographed existed in the world.
Photographers who come up with power never get accused of imitating anyone else even though they photograph the same broom, same street, same portraits.
Especially when you are advertising a product, I talk to the photographer and we create a character - it always gives you more freedom because it makes it less about yourself.
What we must demand from the photographer is the ability to put such a caption beneath his picture as will rescue it from the ravages of modishness and confer upon it a revolutionary use value.
What a photograph shows us is how a particular thing could be seen, or could be made to look - at a specific moment, in a specific context, by a specific photographer employing specific tools.
I was a photographer first.I worked alone. I did it my way as much as I could. I have been sort of courageous about doing things, because I didn't think I should do less than my brothers.
Photographers don't need to be aggressive. Some are. Henry Benson is aggressive - but then he's from Fleet Street. If you can talk to people, you don't need to push people around.
If you can imagine photography in the guise of a woman and you’d ask her what she thought of Stieglitz, she’d say: He always treated me like a gentleman.