I've had photographs taken for portraits because I very much prefer working from the photographs than from models... I couldn't attempt to do a portrait from photographs of somebody I didn't know.
I often think we do not take this business of photography in a sufficiently serious spirit. Issuing a photograph is like marriage: you can only undo the mischief with infinite woe.
When van Gogh paints sunflowers, he reveals, or achieves, the vivid relation between himself, as man, and the sunflower, as sunflower, at that quick moment of time. His painting does not represent the sunflower itself. We shall never know what the sunflower itself is. And the camera will visualize the sunflower far more perfectly than van Gogh can.
Taking photographs can assuage the itch for possession sparked by the beauty of a place; our anxiety over losing a precious scene can decline with every click of the shutter.
Photography was so perfectly suited to my sensibility and situation, it gave me a voice, a kind of crazy, out-of-whack voice, at the beginning, but a voice. I could finally put into images bottled up feelings of absurdity and alienation - and also joy and delight.
A photograph is a most important document, and there is nothing more damning to go down to posterity than a silly, foolish smile caught and fixed forever.
Any photographer worth his/her salt - that is, any photographer of professional caliber, in control of the craft, regardless of imagistic bent - can make virtually anything look good. Which means, of course, that she or he can make virtually anything look bad - or look just about any way at all. After all, that is the real work of photography: making things look, deciding how a thing is to appear in the image.
The artistry on the show [ Underground] is apparent in each episode. From the riveting writing to the purposeful and precise direction, the masterful work of the DP [Director of Photography] Kevin McKnight and his crew, and the layers and depths each actor goes to to ensure we the audience feel a human connection to these characters led me to sign my name on the dotted line.
If we examine a work of ordinary art, by means of a powerful microscope, all traces of resemblance to nature will disappear - but the closest scrutiny of the photogenic drawing discloses only a more absolute truth, a more perfect identity of aspect with the thing represented.
What, or who, led you to take up photography, and about what date ?
George Bernard Shaw – I always wanted to draw and paint. I had no literary ambition. I aspired to be a Michelangelo, not a Shakespeare. But I could not draw well enough to satisfy myself; and the instruction I could get was worse than useless. So when dry plates and push buttons came into the market I bought a box camera and began pushing the button. It was in 1898.
I love photography. Photographers and photos. I took a ton of pictures in Paris, and I find that I'm most inspired by following other photographers on Instagram.
"Do not call yourself an "artist-photographer" and make "artist-painters" and "artist-sculptors" laugh; call yourself a photographer and wait for artists to call you brother."