Taking pictures is savoring life intensely, every hundredth of a second.

The camera is an instrument that teaches people how to see without a camera.

When I look at my old pictures, all I can see is what I used to be but am no longer. I think: What I can see is what I am not.

Sometimes I arrive just when God's ready to have somone click the shutter.

A photographer is like a cod, which produces a million eggs in order that one may reach maturity.

A photograph shouldn't be just a picture, it should be a philosophy.

We are often taught to look for the beauty in all things, so in finding it, the layman asks the philosopher while the philosopher asks the photographer.

A portrait is not a likeness. The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion. There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is the truth.

art is risk made visible

I drift like a cloud,Across these venerable eastern lands,A journey of unfathomable distances,An endless scroll of experiences...Lady Zhejiang here we must part,For the next province awaits my embrace.Sad wanderer, once you conquer the East,Where do you go?

... so this is for us.This is for us who sing, write, dance, act, study, run and loveand this is for doing it even if no one will ever knowbecause the beauty is in the act of doing it.Not what it can lead to.This is for the times I lose myself while writing, singing, playingand no one is around and they will never knowbut I will forever rememberand that shines brighter than any praise or fame or glory I will ever have,and this is for you who write or play or read or singby yourself with the light off and door closedwhen the world is asleep and the stars are alignedand maybe no one will ever hear itor read your wordsor know your thoughtsbut it doesn’t make it less glorious.It makes it ethereal. Mysterious.Infinite.For it belongs to you and whatever God or spirit you believe inand only you can decide how much it meantand meansand will forever meanand other people will experience it toothrough you.Through your spirit. Through the way you talk.Through the way you walk and love and laugh and careand I never meant to write this longbut what I want to say is:Don’t try to present your art by making other people read or hear or see or touch it; make them feel it. Wear your art like your heart on your sleeve and keep it alive by making people feel a little better. Feel a little lighter. Create art in order for yourself to become yourselfand let your very existence be your song, your poem, your story.Let your very identity be your book.Let the way people say your name sound like the sweetest melody.So go create. Take photographs in the wood, run alone in the rain and sing your heart out high up on a mountainwhere no one will ever hearand your very existence will be the most hypnotising scar.Make your life be your artand you will never be forgotten.

Mediante la fotografía y la palabra escrita intento desesperadamente vencer la condición fugaz de mi existencia, atrapar los momentos antes de que se desvanezcan, despejar la confusión de mi pasado.

It's often about the simple things, isn't it? Painting and photography are first about seeing, they say. Writing is about observing. Technique is secondary. Sometimes the simple is the most difficult.

Its not enough to just own a camera. Everyone owns a camera. To be a photographer you must understand, appreciate and harness the power you hold!

Having a camera is not enough. You must understand, appreciate, and harness the power you hold!

When your heart jumps every time your camera locks focus...You've become a photographer.

[Photography] allows me to accede to an infra-knowledge; it supplies me with a collection of partial objects and can flatter a certain fetishism of mine: for this 'me' which like knowledge, which nourishes a kind of amorous preference for it. In the same way, I like certain biographical features which, in a writer's life, delight me as much as certain photographs; I have called these features 'biographemes'; Photography has the same relation to History that the biographeme has to biography.

A society where feminine beauty is defined not by the human self on genuine intellectual and sentimental grounds, but by a computer software on the grounds of economic interest, is more dead than alive. It is a society of human bodies, not human beings.

It's like a malicious person lifting a photograph from the developing chemicals too early, and then pronouncing the photographer incompetent.

Women that can work a camera with ease often work men just as effortlessly for both require the same commitment to vanity and manipulation.

The best thing about photography: it changes your point of view.

All photographs are memento mori. To take a photograph is to participate in another person’s (or thing’s) mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time’s relentless melt.

For me the noise of Time is not sad: I love bells, clocks, watches — and I recall that at first photographic implements were related to techniques of cabinetmaking and the machinery of precision: cameras, in short, were clocks for seeing, and perhaps in me someone very old still hears in the photographic mechanism the living sound of the wood.

Time eventually positions most photographs, even the most amateurish, at the level of art.

If it can happen in your mind, it can happen in your camera

A professional headshot in front of a bookshelf says you're an intellectual. A professional headshot peeking though a bookshelf says you're probably under a restraining order.

I have found my way, step by step, proceeding from touch points that have emerged, some through conscious choice and some through dream state discovery.

Photographers don't take pictures. They create images.

They were all highly respectable in their professions and, together, practically unstoppable. But most importantly, they were on her side. She couldn't feel more blessed....or anxious. She sighed. *in italics* Forgive me, Lord, for being so antsy. For worrying, I know it adds nothing to my life or any help to the situation at hand, but it's my friend's disappearance that we're investigating, and I don't know where to start. I don't want to choose the wrong lead. Please direct our investigation and help me to bring Skylar home. I'm the reason she is the way she is. Please don't let it be too late. *end italics*

When you're taking photographs of people, creating the “perfect scenery” is always secondary. It's much more important to capture the emotions. Especially when there's true love.

I have always loved being behind the camera. I love how it sets you apart in a crowd, so that you can float at the edges, pausing only occasionally to capture a moment.In its own way it’s easier than writing. As a writer, I have to know people, to talk to them, to barge into silences with a dozen of those little lighthearted quips that lead up to a conversation. And even then, they’re guarded around you. Nobody wants their drunken conversation written down somewhere.Being a photographer is different. People come to you. They smile. They flirt. They make sure you see only their best side. Nobody wants to upset the camera.

In the years that I could not see him, I came to know my father through the medium of photography. My perceptions of him were forged on black-and-white squares that stole an instant out of history and immortalized it between the pages of a family album. When I summoned up the image of the man, it came to me frozen, black-bordered, flat. He stood pale above the creases of his uniform, framed in the foamy wake of some ship, drops of sunlight caught in the buttons on his jacket. He winked at me from the liberty ports of countless exotic places. In an atrocious hand he scrawled stilted, affectionate words to the stranger that bore his name and his features, telling of adventures far away, misbehavings under suns hotter than that which shone over the Greater German Reich.

When I came home, I was asked to put my pictures in a photo exhibit at the Cinematography College ... my pictures won first prize. I began to ask myself what I was doing, and why. A few months after the exhibit, I dropped out of college, left my wife and began to write this book.

My husband and I have always been good at creative visualization. Before we quit drugs and got married he’d place tabs of acid on his eyes to see things that weren't there. I'd lay blank sheets of photographic paper on the cornea of developing solution to conjure images. We'd always coaxed dreams from paper, and believed them.

The shock of photographed atrocities wears off with repeated viewings, just as the surprise and bemusement felt the first time one sees a pornographic movie wear off after one sees a few more.

Thanks to photography, some memories overstay their welcome.

Beautiful women have a following all their own. If that sounds misogynistic, I’m sorry, that’s the way the world works. Homer said the Greeks went to war over a woman. I can’t get a battle, but I can get a few hundred thousand views with the right face in a skirt.

Photography saved my life by opening my eyes to the beauty that surrounds me each and everyday. Life look much richer from behind the lens.

As a photographer you have a deep love for light, life and yourself. You know that the eyes of love aren’t blind, they are wide open. Only when your eye, heart and soul shine brighter than the sun, you realize how ordinary it is to love the beautiful, and how beautiful it is to love the ordinary.

What i like about photographs is that they capture a moment that’s gone forever, impossible to reproduce.

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

You don't make a photograph just with a camera. You bring to the act of photography all the pictures you have seen, the books you have read, the music you have heard, the people you have loved.

A picture is a secret about a secret, the more it tells you the less you know.

You don't take a photograph, you make it.

It is a cruel, ironical art, photography. The dragging of captured moments into the future; moments that should have been allowed to be evaporate into the past; should exist only in memories, glimpsed through the fog of events that came after. Photographs force us to see people before their future weighed them down....

A great photograph is one that fully expresses what one feels, in the deepest sense, about what is being photographed.

Art is what we call...the thing an artist does.It's not the medium or the oil or the price or whether it hangs on a wall or you eat it. What matters, what makes it art, is that the person who made it overcame the resistance, ignored the voice of doubt and made something worth making. Something risky. Something human.Art is not in the ...eye of the beholder. It's in the soul of the artist.

A great photograph is a full expression of what one feels about what is being photographed in the deepest sense and is thereby a true expression of what one feels about life in its entirety.

A photograph is usually looked at- seldom looked into.

One thing that struck me early is that you don’t put into a photograph what’s going to come out. Or, vice versa, what comes out is not what you put in.

Your first 10,000 photographs are your worst.

The Earth is Art, The Photographer is only a Witness

I used to think that I could never lose anyone if I photographed them enough. In fact, my pictures show me how much I’ve lost.

To consult the rules of composition before making a picture is a little like consulting the law of gravitation before going for a walk.

It is through living that we discover ourselves, at the same time as we discover the world around us.

But the very question of whether photography is or is not an art is essentially a misleading one. Although photography generates works that can be called art --it requires subjectivity, it can lie, it gives aesthetic pleasure-- photography is not, to begin with, an art form at all. Like language, it is a medium in which works of art (among other things) are made. Out of language, one can make scientific discourse, bureaucratic memoranda, love letters, grocery lists, and Balzac's Paris. Out of photography, one can make passport pictures, weather photographs, pornographic pictures, X-rays, wedding pictures, and Atget's Paris. Photography is not an art like, say, painting and poetry. Although the activities of some photographers conform to the traditional notion of a fine art, the activity of exceptionally talented individuals producing discrete objects that have value in themselves, form the beginning photography has also lent itself to that notion of art which says that art is obsolete. The power of photography --and its centrality in present aesthetic concerns-- is that it confirms both ideas of art. But the way in which photography renders art obsolete is, in the long run, stronger.

Nobody has ever taken a photograph of something they want to forget. We can build a wall of happy Kodak moments around ourselves, a wall of our Christmases, birthdays, baby showers and weddings, but we can never forget that celluloid film is see-through, that behind it, all the misery of real life waits for our wall to collapse someday.

For me, the subject of the picture is always more important than the picture.

What I'm trying to describe is that it's impossible to get out of your skin into somebody else's.... That somebody else's tragedy is not the same as your own.

The snapshots in CHINA: Portrait of a People are not meant to be works of art. I was too preoccupied with participating, with reveling in the moment, to worry about their perfection. Their purpose, then, is to form a candid portrait of China exactly as China presented itself to me.

Art is nothing more than creating an emotion in your own form.

Photography is like stealing.You rob someone of a moment that exposes something essential about their character,their soul if you like.there are people who are very conscious of that,who find that terrifying.The thought that everyone,friend of foe,can get so close to you,look you straight in the eye and judge you without having any control over it or being able to respond.A part of them has become the property of the photographer.

All portraits reveal both the the painter and the person painted. In many ways all paintings are self-portraits. All part of why art informs.

All my images are self-portraits, even when I'm not in them.

Not every artistic person should have to be a photographer, but every photographer should be artistic.

A photograph is the pause button on life.

Photography is essentially an act of recognition by street photographers, not an act of invention. Photographers might respond to an old man’s face, or an Arbus freak, or the way light hits a building—and then they move on. Whereas in all the other art forms, take William Blake, everything that came to that paper never existed before. It’s the idea of alchemy, of making something from nothing.

The task of a philosophy of photography is to reflect upon this possibility of freedom - and thus its significance - in a world dominated by apparatuses; to reflect upon the way in which, despite everything, it is possible for human beings to give significance to their lives in the face of the chance necessity of death. Such a philosophy is necessary because it is the only form of revolution left open to us.

Both those taking snaps and documentary photographers, however, have not understood 'information.' What they produce are camera memories, not information, and the better they do it, the more they prove the victory of the camera over the human being.

Don't we all know that art is dangerous. You play it - then you live it.

Original art emanates in the mind ... and lessons society's confusion from self indulgence, avarice and greed to trust, hope and love.

It's true that a picture is worth a thousand words, but it's also true that a word is worth a thousand pictures.

Artist communities love to bullshit each other and glad-hand one another, and there's no room for the crippling honesty of comedy."I'm a painter" -- well... you don't...probably need to do that.. . . if you're painting something that doesn't exist, I understand that, I can appreciate- . . . but if your pain- 'oh, it's a barnyard scene in autumn'--well then just take a picture of a barn in autumn! It's way better than a painting! - Before Turning the Gun on Himself [2012]

Photographs do not translate from appearances. They quote from them.

I often come across this question. "Which is the best camera in the world?". I would always say, "Well. You already own two of it, since your birth.

Nature is beautiful in all its chaos. However, a nature photograph is beautiful only in the absence of chaos.

Writing, photography...art. It's all about what's in focus.

Photoghraphic projects can be as short as an afternoon or as long as a lifetime.

Trauma and pain are the foundations of art. I believe that. When tragedy strikes, however, a muralist or a watercolorist has the opportunity to be a human being in the moment and an artist afterward. Faced with the death of a loved one, a sculptor or portraitist can first grieve, suffer, and heal--then create. Most artists go through life this way. They can react normally to the trials and tribulations of the human experience. They can pass through the world with compassion and comradeship. They can make their art later. Outside, elsewhere, beyond. But photography is immediate. It does not offer the luxury of time. Faced with blood, death, or transformation, a photographer has no choice but to reach for the camera. An artist first, a human being afterward. Photography is a neutral record of all events, a chronicle of things both sublime and terrible. By necessity, this work is made without emotion, without connection, without love.

Photography is like exploring a new dimension, only I can go there but I can show you where I've been.

Some days you just get lucky… Other days you wait patiently for luck to happen

The hardest part is setting the camera on the tripod, or making the decision to bring the camera out of the car, or just raising the camera to your face, believing, by those actions, that whatever you find before you, whatever you find there, is going to be good.

The camera would miss it all. A magnificent picture is never worth a thousand perfect words. Ansel Adams can be a great artist, but he can never be Shakespeare. His tools are too literal.

A photograph is a universe of dots. The grain, the halide, the little silver things clumped in the emulsion. Once you get inside a dot, you gain access to hidden information, you slide into the smallest event. This is what technology does. It peels back the shadows and redeems the dazed and rumbling past. It makes reality come true.

Giving Back reframes portraits of philanthropy.

To suffer is one thing; another thing is living with the photographed images of suffering, which does not necessarily strengthen conscience and the ability to be compassionate. It can also corrupt them. Once one has seen such images, one has started down the road of seeing more - and more. Images transfix. Images anesthetize.

Through photography and image I have been afforded the privilege of sharing the stories and myths of people's lives with others. The process for me became self-revelatory. It was a process of soul-making, something all humans are engaged in, no matter their endeavor. I saw a part of myself in each person I photographed. I came to realize, through the alchemical process of living, that each life is important, no matter how little that life seems to offer.

A recurrent question about photography is how much self expression it allows the photographer. There are two standard positions, each corresponding to a different location oh photographic skill. The opposition is neatly summed up in Bioy Casares’s novel The Adventures of a Photographer in La Plata (1989). The hero Nicolasito Almanza declares: ‘I am convinced that all of photography depends on the moment we press the release […] I believe that you’re a photographer if you know exactly when to press the release.’ In making this declaration he is responding to the opinion expressed by Mr Gruter, owner of a photographic laboratory: ‘[…] sometimes I wonder if the true work of the photographer doesn’t begin in the dark room, amid the trays and the enlarger.

Across the valley, a waterfall stumbles down. In a month or two the really hard rains will come down for eighteen hours a day and that waterfall will once again become tough as a glacier and wash away the road. But now it looks as delicate as the path of a white butterfly in a long-exposed photograph.

We may never know what another person is thinking--never truly get into anyone else's head--but photography brings us as close as anything can. When the members of an audience at an art gallery look at a picture, they can step for a moment inside the mind of the artist. Like telepathy. Like time travel. At some future date, when people gaze at my photographs of the islands, they will see what I saw. They will stand where I stood, on this granite, surrounded by this ocean. Perhaps they will even feel some of the elation I have experienced here.

Every traveler should make their own observation.

At the top, I put the camera's viewfinder to my eye and slowly turned, the way my grandmother had taught me. From every vantage point something remarkable filled the screen- clusters of wild red columbine, fallen boulders forming geometric designs against the wall, crusty green lichen gnawing on rocks, a Baltimore oriole popping from a thicket of brush, and, at my feet, a grasshopper clinging to a stem of purple aster. I could spend a day here and barely scratch the surface. The sun felt warm on my shoulders as I bent down to capture the blossoms of yellow star grass, the feathery purple petals of spotted knapweed, and the lacy wings of two yellow jackets as they alighted on tiny white blossoms of Labrador tea. By the time I finished taking photos of a monarch butterfly resting on milkweed, I realized an hour had passed.

When you look at nature, you see a hidden mystery that gives a special flavor to the photograph.

Capture the moment. It is your only sacred-memory.

If you don’t capture the moments, it will be gone forever.

The less gear you use, the more you grow as a photographer. Although there are fewer options available, you'll find more creative ways to capture what you feel! In a way, all your technical options before turn into creative solutions that improve your photography even more.

Photoshop and Lightroom help me transform my photos into what my heart felt, but my camera couldn't quite capture!

Mandy was thinking back to when she was five years old, when she, her parents and Jud went outside before Christmas and had a snowball fight with the gray snow of Sydney Mines. “This is a wicked blast,” Jud would say, and Mandy would snap photos with a 35mm disposable film camera, photos she wished very much she could step into sometimes.

People say that a time machine can’t be invented, but they’ve already invented a device that can stop time, cameras are the world’s first time machines.

When you take a photo, you often take your own reality into your camera - the reality that you shaped in your mind - and not the real reality over there, whatever it is!

A picture's worth a thousand words. But a single word can make you think of over a thousand pictures in your mind, over a thousand moments, a thousand memories.

This is almost always the case: A piece of art receives its f(r)ame when found offensive.

How promising today's generation is. They can whip out their cellular phones like sheep, instantly take a million digital photos of their cat and then just delete them. But I'd like to see these kids try to artfully use a traditional film camera or make a super 8 home movie. Traditional film takes integrity, nostalgia, effort, patience and imagination - things that the 21st century has very little of. Everything these days, even a superior medium like film photography with an extensively vivid history and an iconic meaning, is becoming disposable in this age.

…Maybe I’ll be watching super-8 home videos,” Alecto told her, smiling bleakly. “I love my super-8 camera, it’s an Eastman Kodak one… Kodak stopped manufacturing them, the world went digital and now Kodak has stopped making Kodachrome film and all kinds of traditional film products… it’s sad.” “Well, uh… well, have fun watching your home movies then,” Mandy finished, but she didn’t have the slightest idea what he was talking about.

My selfie my life!

You only have to start saying of something : 'Ah, how beautiful ! We must photograph it !' and you are already close to the view of the person who thinks that everything that is not photographed is lost, as if it never existed, and therefore in order to really live you must photograph as much as you can, and to photograph as much as you can you must either live in the most photographable way possible, or else consider photographable every moment of your life.

Photography is not about costly cameras'. It's about your huge passion and little interest in innovation.

When the world asks "what was it like?" Only the photographer can say "See!

The photographer does the world a great disservice when he leaves his camera at home.

The photographer does the world a great disservice when she leaves her camera at home.

When the reality looks magnificent, a real art of photography has only one choice: To capture this beauty magnificently!

Reality offers us such wealth that we must cut some of it out on the spot, simplify. The question is, do we always cut out what we should? ­

We travel with our thoughts to great lands.

photographs are very interesting, and you can look into them a million times and still find a new meaning in them, something in the past that was caught in the film itself…

A painting shouldn't be just a picture, it should be a philosophy.

Lovers tend to be philosophical, achievers are practical.

Pragmatism is good prevention for problems.

In the parlor was a huge camera on wheels like the ones used in public parks, and the backdrop of a marine twilight, painted with homemade paints, and the walls papered with pictures of children at memorable moments: the first Communion, the bunny costume, the happy birthday. Year after year, during contemplative pauses on afternoons of chess, Dr. Urbino had seen the gradual covering over of the walls, and he had often thought with a shudder of sorrow that in the gallery of casual portraits lay the germ of the future of the city, governed and corrupted by those unknown children, where note even the ashes of his glory would remain.

..giving power to negative thoughts or fears was bringing ideas to life in physical world,idea in mind became emotion in heart,emotion turned into words spoken,written,painted,strummed across guitar strings,or vibrantly held note by Tibetan singing bowl, thoughts affected physical world.

Shared emotions experienced by two souls,empathy on unequivocal level which Davey believed would change entire species of mankind if only secret of empathy could be telepathically shared with humanity,one soul after another, until every soul understood true meaning of love.

..home INSIDE is home shining brightly above all homes in physical world.

Defining moment in new telepathist's life, moment when intuitive individual learns most of society isn't telepathic, doesn't see auras,doesn't know what life on ethereal astral plane is like.

What I am or am not wearing does not correlate with my competency as a professional, a mother, or a feminist role model. My clothes do not define me and nor does my nakedness. I define me.

What I am or am not wearing does not correlate with my competency as a professional, a mother, or a feminist role model. My clothes don't define me and neither does my nakedness. I define me.

I wanted to evaluate my own escape from the crowds in 5 different stages so that I could clarify my thoughts and help my readers get more benefits.(1) Getting away from the media(2) Getting away from the big city(3) Going to nature as a life style(4) Getting away from the social media(5) Being only with people I want

I'm not constantly looking for the "right" in my thoughts. I am, actually, scared of absolute “rights”. Therefore, I don't think my book will appeal to people who seek concrete formulas from me to be happy and who have designed their lives mechanically. But I do believe my book can give something to people who live their lives going from information to information like a bee, who depend on their own syntheses as the outcomes and have flexible thought, and who could be an "individual".

Getting away from the media was the first step of breaking away from the crowds, and let me clearly state, not in 1 day, 5 days, 10 days but in 4-5 months, I started to feel relief in myself, and I had the ability to think more positively about the things I experienced. I know that there are millions of people around me who believe that following current events and knowing them, as I did once, is an important thing. Besides, I also know that they are the millions of people who have not been able to build their own world yet.

Don’t try to present your art by making other people read or hear or see or touch it; make them feel it. Wear your art like your heart on your sleeve and keep it alive by making people feel a little better. Feel a little lighter. Create art in order for yourself to become yourselfand let your very existence be your song, your poem, your story.Let your very identity be your book.Let the way people say your name sound like the sweetest melody.

The artistic methods of poetry, painting, photography, and writing share certain commonalities of deep composition: spirit, rhythm, thought, and scenery.

They say a picture is worth 1,000 words. I say its closer to 675 or 700.

There is only you and your camera. The limitations in your photography are in yourself, for what we see is what we are.

Strike all the adjectives from your bio. If you take photos, you're not an 'aspiring' photographer, you're not an 'amazing' photographer either. You're a photographer. Don't get cute. Don't brag. Just state the facts.

The Indians say to draw someone's portrait is to steal their soul, i am taking photographs, does it mean that i am just borrowing them?

Seeing God is all about getting in touch with reality. If you want to photograph God, focus your lens on Hamakom, The Place, anyplace where you see divine light illuminating reality. Let your camera collect the light reflecting from the reality shaping your everyday life and you will find yourself photographing God in action." (From the Introduction to the book Photograph God)

Stare. It is the way to educate your eye, and more. Stare, pry, listen, eavesdrop. Die knowing something. You are not here long.

Sometimes, without effort, you live in the moment. You don't regret the past or worry about the future, and in that moment everything flashes before your eyes , a clear snapshot of what has to be done, and everything pauses.

People always say that digital cameras are much more stable than film cameras, but the truth is that digital cameras, or any kind of digital technology, is one of the most unstable things in the world. A film camera can last decades if you know how to look after it, but digital things can break down instantly. A violent storm, a nuclear bomb, even something as minor as a cracked screen or the releasing of newer models, can make a digital product just a block of useless metal.

Oftentimes she wondered what had happened to super 8. Sure, it made perfect sense that nobody wanted the hassle of spending money on a three-minute cartridge of film and threading it through a projector, but though digital cameras were convenient and cheap, Mandy didn’t care. Super 8 had integrity, it wasn’t just nostalgia, it was art, it was history, it was a little recording medium that somehow possessed the power to evoke lost memories, to turn back time, and there was something dazzling about waiting excitedly for a reel of film to come back in its yellow and red Kodak envelope, eating buttered popcorn while the projector paraded life’s best moments, and capturing something beautiful in only three minutes.

We make, see, and love films, not digitals. To convert all of our movies, home videos, theaters, photographs and television to digital would be like telling a painter to throw away his brushes and canvas for an I-Pad. Celluloid isn't just nostalgic, it's an art form and, like it or not, it's superior to digital. It lasts much longer, it provides grain and brighter colors, and it takes more effort so that it produces something wonderful. With the inferior binary codes, pixels and untested shelf-life of digital files, plus the fact that these days anyone with a digital camera, even a two-year-old, can make a video and pollute the world with self-photography and cat pictures, film has a lot more integrity and worth than digital.

Alford, Massachusetts: Mandy stood there with her old Nikon film camera, snapping photo after photo of the rural landscape. It was difficult to describe the wonderful feeling of there not being a single cell phone in sight; the only modern technology around was the faint blue glow of a cathode ray tube television in the window of a nearby house, and a few cars and trucks parked in crumbling gravel driveways. She was allowed to see this place, one that would likely be ruined by the 21st century as time went on… places like these were extremely hard to find these days. A world of wood-burning cookstoves and the waxy smell of Paraffin, laundry hung out to dry, rusty steel bridges over streams that reflected the bright blue skies, apple pies left out on windowsills… a world of hard work with very little to show for it aside from the sunlight beaming down on a proud community. And Mandy wanted to trap it all in her Kodak film rolls and rescue it from the future.

Film photography will always be superior to digital - because no matter how many lasers and instant buttons and HD pixels you've got, a human being can take a photograph with much more integrity and meaning than one a built-in robot took.

I grew up in an era that was a golden age of the blockbuster, when something we might call a family film could have universal appeal. That's something I want to see again. In terms of the tone of the film, it looks at where we are as a people and has a universality about human experience.

I guess if there’s one thing I can say about the 21st century, it’s that the 21st century is all flash and no substance… everything is digital, nothing but files of invisible electronic data on computers and mindless zombies on their cellular phones… it’s sad how because of the digital age, society is ultimately doomed. Nothing in the digital age is real anymore, and you know, they say celluloid film and ray tube televisions and maybe even paper might become obsolete in this century? …What’s most annoying is that nobody cares, they’ve just learned to accept the digital age and get addicted to it… none of them are ever going to step up and say to the world, “you’re all a bunch of sheep!” and even if they did say anything, I doubt anyone would listen… they’re all too obsessed and attached to their cellular phones and overly big televisions and whatever other moronic things they’ve got these days… it almost makes me want an apocalypse to happen, to erase digital technology and force the world to start over again.

Not everybody trusts paintings but people believe photographs.

Kodachrome... it gives us those nice, bright colors,gives us the greens of summers,makes ya think all the world's a sunny day,Oh yeah!I've got a Nikon camera, I'd love to take a photograph,so mama don't take...my Kodachrome away...

The shutter of the photographer's camera makes that repeated mechanical sound. That unlocking and locking of the doors of light to send momentary images of the present into the light trap of the past.

Photography is never real, it’s merely one of many ways of telling the truth.

The incapacity to name is a good symptom of disturbance.

The artistic creation of the poet, painter, photographer, and writer is a reflection of the artist’s inner world. The agenda of consciousness that spurs all forms of art is not to represent the outward appearance of things, but to portray its inward significance to the creator. A great poem, painting, photograph, and written composition fully express what the creator feels, in the deepest sense, about the distinctively depicted image that captured their imagination.

All photos speak a thousand words. This one contained a library.

The camera was a hand-held auxiliary of wanting-to-know. It had more than information and accuracy to teach me. I learned in the doing how ready I had to be. Life doesn't hold still. A good snapshot stopped a moment from running away. Photography taught me that to be able to capture transience, by being ready to click the shutter at the crucial moment, was the greatest need I had. Making pictures of people in all sorts of situations, I learned that every feeling waits upon its gesture, and I had to be prepared to recognize this moment when I saw it. These were things a writer needed to know. And I felt the need to hold transient life in words - there's so much more of life that only words can convey - strongly enough to last me as long as I lived. The direction my mind took was a writer's direction from the start, not a photographer's or a recorder's.

Prayer Against the DarknessShekhinaPray for us now bound with scripture and shielded with shawlArmed with passion and loving carePray for us now against suffering, turmoil, and injusticePray for us now against the chaos of the dark.

Capture every moments of your life.

If Life worked on auto mode then manual mode for photography would have never existed.

No, you don't shoot things. You capture them. Photography means painting with light. And that's what you do. You paint a picture only by adding light to the things you see.

Embracing the LightCollected bits of truthShimmering sparksShards of lightMergeHealingRestoringBursting BrightRisingin divine ecstatic flame.

The GatheringAccording to the Kabbalah, in the beginning everything was God. When God contracted to make room for creation, spiritual energy filled the void. The energy poured into vessels which strained to hold the great power. The vessels shattered, sending countless shards, bits of the glowing matter, into the vastness of the universe.These scattered bits of divine light must be collected. When the task is done the forces of the dark will be vanquished and the world will be healed.

The BlessingHeads are covered by the Tallit, or prayer shawl; hands are extended out with the fingers splayed to form the shape of the letter Shin, the first letter in the word Shaddai, a name for the Almighty. The chant, in Hebrew, is loud and ecstatic: "May the Lord bless and keep you."The Shekhina is summoned; the feminine essence of God. She enters the sanctuary to bless the congregation. The very sight of her, the awesome light emanating from the Shekhina, is dangerous to behold.

When you approach something to photograph it, first be still with yourself until the object of your attention affirms your presence. Then don't leave until you have captured its essence.

In photography and in life, always look for the light -- if you don't see it, bring it...

Photographs don’t discriminate between the living and the dead. In the fragments of time and shards of light that compose them, everyone is equal. Now you see us; now you don’t. It doesn’t matter whether you look through a camera lens and press the shutter. It doesn’t even matter whether you open your eyes or close them. The pictures are always there. And so are the people in them.

He nods, looking through the pictures on the screen on the back of his camera. Some relationships can only exist as memories. But unlike ephemeral digital images that can be sorted and deleted, we can’t erase the past. We have to learn to live with all the images that are stored in love's archive, memories tagged good and bad. No Photoshopping. Accept the negative before moving forward.

True photographs tend to remain on the streets, the story almost about to enter the edge of the frame of the snapshot or the shutter closing a moment too late, the story having just abandoned the frame.

Taking a picture is like giving a piece of your soul away. You allow other people to see the world through your eyes.

Photos which captures human sadness are the noblest and the most meaningful of all the photos!

A selfie has more face and fewer feelings.

when they asked me : why you still you use this old photo?my answer : photo? it's not a simple photo, it's a cover of a book that i can remember his story, page by page.

You should find something better to do with your time,” Mandy told him. “I spend my time shooting people, and then I take them to darkrooms and blow them up.”“…Come again?” Alecto questioned with a tone of alarm in his voice. “I take photographs and develop them myself, I’ve got my own darkroom… it was a joke,” Mandy laughed. “I love photography and I’m gonna be a photojournalist someday.”“Really?” Alecto asked. For the first time since she’d met him, he sounded slightly enthusiastic. “…I take photographs and I film my own home movies, I have a darkroom as well… but I can’t be a photojournalist like you… I can’t be anything… still, at least I can take photographs, it’s fun.

In a field where else you found a stackof revealing nature photographs, of supernude naturephotographs, split beaver of course nature photographs,photographs full of 70s bush, nature taking comefrom every man from miles around, nature with come backto me just dripping from her lips. The stack cameup to your eye, you saw: nature is big into bloodplay,nature is into extreme age play, nature does wild inter-racial, nature she wants you to pee in her mouth, natureis dead and nature is sleeping and still nature is on all fours,a horse it fucks nature to death up in Oregon, nature is hotyoung amateur redheads, the foxes are all in their holesfor the night, nature is hot old used-up cougars, naturemakes gaping fake-agony faces, nature is consensual dad-on-daughter, nature is completely obsessed with twins,nature doing specialty and nature doing niche, exotic femalesthey line up to drip for you, nature getting paddled as hardas you can paddle her, oh a whitewater rapid with her assin the air, high snowy tail on display just everywhere.

I was deep in a dream about photography-walking through a strange city with buildings that stretched so high they disappeared into the clouds. And every time I took a picture of one, it shivered and changed into something else. A sound came from a building behind me-a soft song. I started to walk toward it's open doors, but they closed. I would have to climb in a window-and then I woke up.

A good snapshot keeps a moment from running away.

To remember is to rewrite. To photograph is to replace. The only reliable memories, I suppose, are the ones that have been forgotten. They are the dark rooms of the mind. Unopened, untouched, and uncorrupted.

The print was an old one made from a negative taken in the 1960’s of her parents in Sydney Mines, dancing with thrilled, excited expressions on their faces, in front of a classic car that had been a wedding gift at the time. Her mother’s hair, red back then, was held back by a blue handkerchief, and she was dressed in a billowing skirt and white blouse. Her father’s denim jeans and faded t-shirt were streaked with coal dust as he held her hands and spun her around in the front yard of their old clapboard house, yellow grass under their feet and a cobalt-blue sky with white clouds drifting above. Mandy could almost feel the late summer breeze as she gazed deeply into the print, watching the flamboyant colors come to life. She hung it up to dry on two wooden clothespins hanging from a string above her.

Amber starts off as sap from a tree," Joseph said in the dark. "And sometimes insects get caught in it, and over millions of years the amber turns into a gemstone, but it traps the insect inside.""Oh.""A photograph is sort of like that, don't you think?

A photograph is the best split-second decision one can make!

He was really quite addicted to her face, and yet for the longest time he could not remember it at all, it being so much brighter than sunlight on a pool of water that he could only recall that blinding brightness; then after awhile, since she refused to give him her photograph, he began to practice looking away for a moment when he was still with her, striving to uphold in his inner vision what he had just seen (her pale, serious, smooth and slender face, oh, her dark hair, her dark hair), so that after immense effort he began to retain something of her likeness although the likeness was necessarily softened by his fallibility into a grainy, washed-out photograph of some bygone court beauty, the hair a solid mass of black except for parallel streaks of sunlight as distinct as the tines of a comb, the hand-tinted costume sweetly faded, the eyes looking sadly, gently through him, the entire image cob-webbed by a sheet of semitranslucent Thai paper whose white fibers twisted in the lacquered space between her and him like gorgeous worms; in other words, she remained eternally elsewhere.

I think there is an element of magic in photography — light, chemistry, precious metals — a certain alchemy. You can wield a camera like a magic wand almost. Murmur the right words and you can conjure up proof of a dream. I believe in wonder. I look for it in my life every day; I find it in the most ordinary things.

I create other worlds, magical never-never lands where the camera is my weapon and the battles I fight are with the elements. i stretch the laws of the mind and displace people from their realities to capture a side of them they didn’t even know they had. Photography has the ability to freeze people in this time and space—no matter what happens after that moment, it cannot change—they are exactly how i want them to be.

With the selfies, a photographer has finally found his place in a photograph.

It is so gratifying to tell so many stories my eye can romance with, that i become the stories.They shall live on after me, and in that way it makes me immortal

Every experience has a pattern and sometimes it teaches us through the spirit of patience captured, that there are no coincidences in life.

Slow down, take time, allow yourself to be wildly diverted from your plan. People are the soul of the place; don't forget to meet them and enjoy their company as you explore a place.

The camera is an excuse to be someplace you otherwise don’t belong. It gives me both a point of connection and a point of separation.

If a picture is worth a thousand words, why did God invent captions?

The only other white people we saw during the three days we stayed there were a German couple intent on taking pictures of their stuffed sheep in a variety of locations around the world.

Our thoughts, feelings and whereabouts: Food we dish up on plates called photographs and status updates; to feed Facebook, Twitter, Instagram, etc.; beasts with insatiable appetites.

When a photo of a person looks deep into your spirit and tells you thousand stories….. Stories from your past even before you existed, then the photo is way above any description.

I see myself through others eyes and I am made anew.

...The editors of (i)Life(i) rejected Kerész'a photographs when he arrived in the United States in 1937 because, they said, his images 'spoke too much'; they made us reflect, suggested a meaning — a different meaning from the literal one. Ultimately, Photography is subversive not when it frightens, repels, or even stigmatizes, but when it is (i)pensive(i), when it thinks.

It's a cruel, ironical art, photography. The dragging of captured moments into the future; moments that should have been allowed to evaporate with the past, should exist only in memories glimpsed through the fog of events that came after. Photography forces us to see people before their future weighed down on them. Before they knew their endings.

He owned an expensive camera that required thought before you pressed the shutter, and I quickly became his favorite subject, round-faced, missing teeth, my thick bangs in need of a trim. They are still the pictures of myself I like best, for they convey that confidence of youth I no longer possess, especially in front of a camera.

He wanted to live life to the extreme, but without any mess or complications. He wanted to live life in such a way that if a photograph were taken at random, it would be a cool photograph. Things should look right. Fun; there should be a lot of fun and no more sadness than absolutely necessary.

Anyone can take a picture of poverty; it’s easy to focus on the dirt and hurt of the poor. It’s much harder—and much more needful—to pry under that dirt and reveal the beauty and dignity of people that, but for their birth into a place and circumstance different from our own, are just like ourselves. I want my images to tell the story of those people and to move us beyond pity to justice and mercy.

Sometimes, all you can take are memoriesBut if you’re lucky enough to capture the moment,it lives forever, immortally fixed.

The Winter Photograph was my Ariadne, not because it would help me discover a secret thing (monster or treasure), but because it would tell me what constituted that thread which drew me toward Photography. I had understood that henceforth I must interrogate the evidence of Photography, not from the viewpoint of pleasure, but in relation to what we romantically call love and death.

Super 8 film is the language of silence.

She loves filming and taking photographs. I can imagine her making beautiful films in France or India or somewhere with a gorgeously colourful culture. She somehow reminds me of my favourite place in the world, she and Paris I can romanticize and immortalize in ceaseless poetry for the rest of my life.

Photographing a culture in the here and now often means photographing the intersection of the present with the past.

Put that thing down, girl. Don't you know it steals part of your soul, that little mechanical masterpiece you hold so frivolously? Don't you know it's not just mine it seals into its gears and trick mirrors, but yours, too. What you feel at this moment, what you hope for, what your dreams are, what you think your future will unfold like, it steals it all from you, too. You aren't safe just because of the side of the lens you're on. And later, when everything is said and done, and you want to forget everything that happened in these walls, when you're all alone, this picture, this piece of your soul you didn't even know was gone, will haunt you. It will come bearing knives and AKs and nine millimeters, and it will destroy you from the inside out. Put that damned thing down and stop acting like any of this is something worth remembering.

Judging by the photograph it seemed like I hadn’t been there at all. As if it was my camera that had been on holiday, and not me.

Those static images have the uncanny ability to jar the memory and bring places and people back to life. They bridge the present with the past and validate as real what the passage of time has turned into hazy recollections. Were it not for them, my experiences would have remained as just imperfect memories of perfect moments.

Who sees the human face correctly: the photographer, the mirror, or the painter?

She had the most beautiful awkwardness

Photography is without mercy--though it's nonsense to say it does not lie. Rather, it lies in a particular, capricious way which makes beggars of ministers and gods of cat's meat men.

If there were lies to photography, I figured, there was truth too, truths we’d never see if not through the dispassionate glass eye of a camera.

I had a dream about you last night. We were in your old Civic. Nine Inch Nails was turned up on the stereo and I was taking pictures of you behind the wheel with my disposable camera. We went through the drive through at El Pollo Loco, placed an order for a hundred bucks worth of food, and then just drove off at the window. I miss being stupid with you.

The more of us that feel the universe, the better off we will be in this world.

Ironically, the only way to see clearly is to stand at a distance. You might be focused, but that doesn't mean you are seeing correctly. Sometimes, you have you to grab the camera from the idiot taking all the shots in your life because they don't realize the lens is dirty.

Sometimes stories are too long and hard to tell. That's why Photography exists.

Photographers are artists, they capture and bring emotion in the motions of life.

All photographers have to do, is find and catch the story-telling moment.

While there is perhaps a province in which the photograph can tell us nothing more than what we see with our own eyes, there is another in which it proves to us how little our eyes permit us to see.

Our eyes captures thousands of beautiful pictures everyday.

Life's the picture. But all good photographers know you gotta have the right lens.

Photography is all about the perspective!

Actually, it's nature itself that creates the most beautiful pictures, I'm only choosing the perspective.

Sometimes one waits too long for the perfect moment before snapping the picture. You never realize that you needed was to change perspective.

But now the train had finally begun to move, and Albie had switched the fearless truth-telling eye of his camera lens from his untied laces to the walls of the tunnels under east London, because you can never have enough pictures of dirty concrete.

Some photographers could vomit on a piece of paper and call it art, you know... Hang it in the Guggenheim, or whatever. Sell a print for two hundred pounds? But I can't do that. I just-- Maybe I have too much respect for walls... or something.

No man thinks the same story when looking at a photo because every mind lived a different story!

The camera has always been a guide, and it's allowed me to see things and focus on things that maybe an average person wouldn't even notice.

Capture the sacred moment.

Photographers deal in things which are continually vanishing and when they have vanished there is no contrivance on earth which can make them come back again.

[photography]... wanted to understand, to master for myself, all the processes involved, and to manipulate them in my own way.

We drove 22 miles into the country around Farmington. There were meadows and apple orchards. White fences trailed through the rolling fields. Soon the sign started appearing. THE MOST PHOTOGRAPHED BARN IN AMERICA. We counted five signs before we reached the site. There were 40 cars and a tour bus in the makeshift lot. We walked along a cowpath to the slightly elevated spot set aside for viewing and photographing. All the people had cameras; some had tripods, telephoto lenses, filter kits. A man in a booth sold postcards and slides -- pictures of the barn taken from the elevated spot. We stood near a grove of trees and watched the photographers. Murray maintained a prolonged silence, occasionally scrawling some notes in a little book. "No one sees the barn," he said finally. A long silence followed. "Once you've seen the signs about the barn, it becomes impossible to see the barn."He fell silent once more. People with cameras left the elevated site, replaced by others.We're not here to capture an image, we're here to maintain one. Every photograph reinforces the aura. Can you feel it, Jack? An accumulation of nameless energies." There was an extended silence. The man in the booth sold postcards and slides. "Being here is a kind of spiritual surrender. We see only what the others see. The thousands who were here in the past, those who will come in the future. We've agreed to be part of a collective perception. It literally colors our vision. A religious experience in a way, like all tourism." Another silence ensued. "They are taking pictures of taking pictures," he said.

Patience is the essence of clicking great Photographs!!

I see it all through the lens of my camera—the flurry of movement, the venue staff in black T-shirts, giving orders into their headsets. As I take it all in, my mind weighs the texture, the composition, the possibility of each changing scene, and I struggle to hold back, to keep my finger from pressing too soon. That’s my biggest flaw as a photographer. I’m impatient—trigger-happy. I want the shot now, now, now, click, click, click, and if I could just wait a second more, the moment would really flourish.

The Photograph is violent: not because it shows violent tings, but because on each occasion (i)it fills the sight by force(i), and because in it nothing can be refused or transformed (that we can sometimes call it mild does not contradict its violence: many say that sugar is mild, but to me sugar is violent, and I call it so).

It was uncanny. You press a button and a man drops dead a hundred meters away. It seemed hollow and remote, falsifying everything. It was a trick of the lenses. The man is an accurate picture. Then he is upside down. Then he is right side up. You shoot at a series of images conveyed to you through a metal tube. The force of a death should be enormous but how can you know what kind of man you’ve killed or who was the braver and stronger if you have to peer through layers of glass that deliver the image but obscure the meaning of the act? War has a conscience or it’s ordinary murder.

Smile for the camera, pretty little Sydney Tar Ponds.

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.

People, there's no such thing as, THE BEST CAMERA BRAND, but yes there will always be THE BEST CAMERA AT ANY GIVEN TIME. Technology will change, but not art.

Pictures put you in front of a reality that most of the times you don't want to see, don't want to know about, don't want to get involved.

Regarding the creative: never assume you're the master, only the student. Your audience will determine if you're masterful.

Just because you can, doesn't necessarily mean that you should!

Just because you can, doesn't necessarily mean that you sh

For me, the camera is a sketch book, an instrument of intuition and spontaneity.

Realism without naturalism... is a leading motif in Modern Art. There is a move away from the struggle to perfect the reflection of Nature in Art's mirror, which I attribute to the all-pervading effects of photography...You must serve the tradition without being its slave. Remember you are an artist, not a draughtsman.

To get from the tangible to the intangible (which mature artists in any medium claim as part of their task) a paradox of some kind has frequently been helpful. For the photographer to free himself of the tyranny of the visual facts upon which he is utterly dependent, a paradox is the only possible tool. And the talisman paradox for unique photography is to work "the mirror with a memory" as if it were a mirage, and the camera is a metamorphosing machine, and the photograph as if it were a metaphor…. Once freed of the tyranny of surfaces and textures, substance and form [the photographer] can use the same to pursue poetic truth" (Minor White, Newhall, 281).

To photograph is to hold one's breath, when all faculties converge to capture fleeting reality. It's at that precise moment that mastering an image becomes a great physical and intellectual joy.

Time is the sole photographer of all the times, from the Big Bang till the possible Big Crunch!

One question that especially intrigues me is exactly when humpbacks started coming to Hawaii and why. In artwork and oral histories of ancient Hawaiians there is no record of humpback whales being there, and there is no evidence that humpbacks were there in large numbers in the mid-1800's during the heyday of whaling. The whalers who provisioned in Hawaii in the winter couldn't have overlooked the numbers of whales that are in Hawaii now. We really don't know what happened, but everything points to a recent colonization of humpbacks. (p.162).

I believe in equality for everyone, except reporters and photographers.

Nudity and explicit sex are far more easily available now than are clear images of death. The quasi-violence of movies and television dwells on the lively acts of killing – flying kicks, roaring weapons, crashing cars, flaming explosions. These are the moral equivalents of old-time cinematic sex. The fictional spurting of gun muzzles after flirtation and seduction but stop a titillating instant short of actual copulation. The results of such aggressive vivacity remain a mystery. The corpse itself, riddled and gaping, swelling or dismembered, the action of heat and bacteria, of mummification or decay are the most illicit pornography.

A photograph of a woman crying tells me nothing about grief. Or a photograph of a woman ecstatic tells me nothing about ecstasy. What is the nature of these emotions? The problem with photography is that it only deals with appearances.

Photography is all about secrets. The secrets we all have and will never tell.

An excellent photograph is the one which has excellently captured an excellent moment!

When we look at the old photographs, we always ask three main questions: Are they alive? If they are, where are they? And finally, what is their life story? Photography is an art of creating many questions in the mind of the viewer!

What do we feel when we look at a good photograph? We just want to be there, right at the exact moment that photo taken!

Whenever we look at a photograph, the memories in the photograph become our memories as well!

Every time the long-forgotten people of the past are remembered, they are born again!

Our photographs are our best proof to others that we lived the things we lived in the past!

A city man taking the picture of a donkey and behaving like he has seen an alien creature must absolutely be photographed as he is certainly more interesting than the donkey itself!

Vanity is by far my favorite of all sins, and the camera lens is the ultimate vanity mirror. The camera captures all moods and nuances; immortalizes the soft and silky continuum that is humanity. Those still life moments seem so fluid, so representative of continuity. They are a single moment captured, yet an eternity expressed. All your youth; all your ages, captured and expressed in a single click. Of all the indulgences, vanity is certainly my favorite which we should otherwise resist, but are inexplicably captivated by and addicted. What other animal would spend so much time pouting and preening for its reflection? Only humanity would participate in such self-adoration. You would think we have the most colorful feathers or softest of manes. Rather, we are a naked biped that feels incomplete without some decorative element, accessory, or embellishment of the self. We are intoxicated by the image of the body, no different than we are seduced by fine wines, foods, or mind altering elements. We devour the skin, and peel away clothes as if they were the skin of some tropical fruit, covering a colorful and juicy interior. We hunt for bodily pleasures, and collect them as prizes; show them off in social situations as if our companions were some sort of extended adornment to ourselves. We are revealed in our sensuality. To touch beneath the surface; to connect beyond facades, that unattainable discourse between individuals is put tentatively within reach in intimacy. To capture those moments is to capture the essence of what makes us human, and what ultimately sets us above and aside from the rest of nature. Capturing humanity in its most extravagant expressions is intoxicating. Vanity is by far my favorite sin, and it is an endless tale as infinite as humanity. Every person is but a stitch in a giant tapestry.

I nearly believe you. The challenge remains extended-make me believe you -- Benjamin

He'd never need a camera to remember this, and damn if he ever wanted anyone but him to see her like she was at this moment.

We can all take pictures but not everyone can capture the beauty that's usually hidden in plain view...We can all open our mouth to sing but not everyone can melodically touch your soul...We can all pick up a pen to write but not everyone can write words in such a way that they leap off of the page for you...We can all part our lips to speak but not everyone can speak life into you...We can all move our bodies to a beat but not everyone can become one with music, stir emotions and shift energy with dance...Point is: WE CAN all do something but Know your gifts, cultivate them and ALWAYS, ALWAYS BE YOURSELF! Then working together becomes effortless. Copies aren't accepted everywhere...ORIGINALS are eventually required!

This gesture is one of the motifs of modernity's turn against the principle of imitating nature, that is to say, imitating predefined morphological expectations. It is still capable of perceiving message-totalities and autonomous thing-signals when no morphologically intact figures are left - indeed, precisely then. The sense for perfection withdraws from the forms of nature - probably because nature itself is in the process of losing its ontological authority. The popularization of photography also increasingly devalues the standard views of things. As the first edition of the visible, nature comes into discredit. It can no longer assert its authority as the sender of binding messages - for reasons that ultimately come from its disenchantment through being scientifically explored and technically outdone. After this shift, 'being perfect' takes on an altered meaning: it means having something to say that is more meaningful than the chatter of conventional totalities. Now the torsos and their ilk have their turn: the hour of those forms that do not remind us of anything has come. Fragments, cripples and hybrids formulate something that cannot be conveyed by the common whole forms and happy integrities; intensity beats standard perfection.

When do I see a photograph, when a reflection?

A picture was a motionless record of motion. An arrested representation of life. A picture was the kiss of death pretending to possess immutability.

Some stories, some visions, demand celluloid film and what it can deliver.

Blessed be the inventor of photography! I set him above even the inventor of chloroform! It has given more positive pleasure to po or suffering humanity than anything else that has "cast up" in my time or is like to--this art by which even the "poor" can possess themselves of tolerable likenesses of their absent dear ones. And mustn't it be acting favourably on the morality of the country?

Perhaps the only people with the right to look at images of suffering of this extreme order are those who could do something to alleviate it— say, the surgeons at the military hospital where the photograph was taken—or those who could learn from it. The rest of us are voyeurs, whether or not we mean to be.

A paparazzi is merely an extremely nosy nobody with a camera—and bills to pay.

She realized that the photograph had caused his reaction. It came to her almost as a revelation. Think of it: a photographer presses a button. A few hours later and half a world away, some dots of ink on a news print showed what he had seen-and had the power to touch peoples emotions, perhaps to change their way of thinking.

He who seeks beauty will find it.

Standing in the spotlight, surrounded by all my selves, each of them naked and vulnerable before your lens, I want to be split open and reminded of shame. I know that sounds selfish, but I’m allowed to be selfish ’cause we’re talking about photography. Do you honestly believe I don’t see it for what it actually is: Exploitative? Exploitation is the nature of the beast, whatever the hell that means.

We sometimes take photos (or record a video) so that we can later see what was happening while we were busy taking photos (or recording a video).

Photobomb me at your own risk!

To the complaint, 'There are no people in these photographs,' I respond, There are always two people: the photographer and the viewer.

Today everything exists to end in a photograph.

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

There is nothing worse than a sharp image of a fuzzy concept.

A photograph is a moral decision taken in one eighth of a second.

To photograph people is to violate them, by seeing them as they never see themselves, by having knowledge of them that they can never have; it turns people into objects that can be symbolically possessed. Just as a camera is a sublimation of the gun, to photograph someone is a subliminal murder - a soft murder, appropriate to a sad, frightened time.

People spot a big black lens, and they worry about what they're doing, or how their hair looks. Nobody see the person holding the camera.

The painter constructs, the photographer discloses.

Ultimately — or at the limit — in order to see a photograph well, it is best to look away or close your eyes. 'The necessary condition for an image is sight,'Janouch told Kafka; and Kafka smiled and replied: 'We photograph things in order to drive them out of our minds. My stories are a way of shutting my eyes.

Landscape photography is the supreme test of the photographer - and often the supreme disappointment.

It is photography itself that creates the illusion of innocence. Its ironies of frozen narrative lend to its subjects an apparent unawareness that they will change or die. It is the future they are innocent of. Fifty years on we look at them with the godly knowledge of how they turne dout after all - who they married, the date of their death - with no thought for who will one day be holding photographs of us.

To photograph: it is to put on the same line of sight the head, the eye and the heart.

I tend to think of the act of photographing, generally speaking, as an adventure. My favorite thing is to go where I’ve never been.

Photographers tend not to photograph what they can’t see, which is the very reason one should try to attempt it. Otherwise we’re going to go on forever just photographing more faces and more rooms and more places. Photography has to transcend description. It has to go beyond description to bring insight into the subject, or reveal the subject, not as it looks, but how does it feel?

Don’t pack up your camera until you’ve left the location.

It is no accident that the photographer becomes a photographer any more than the lion tamer becomes a lion tamer.

A photograph can be an instant of life captured for eternity that will never cease looking back at you.

There is in fact something obscene and sinister about photography, a desire to imprison, to incorporate, a sexual intensity of pursuit.

No matter how much crap you gotta plow through to stay alive as a photographer, no matter how many bad assignments, bad days, bad clients, snotty subjects, obnoxious handlers, wigged-out art directors, technical disasters, failures of the mind, body, and will, all the shouldas, couldas, and wouldas that befuddle our brains and creep into our dreams, always remember to make room to shoot what you love. It’s the only way to keep your heart beating as a photographer.

When we define the Photograph as a motionless image, this does not mean only that the figures it represents do not move; it means that they do not (i)emerge(i), do not (i)leave(i): they are anesthetized and fastened down, like butterflies.

I know the best moments can never be captured on film, even as I spend nearly half my life trying to do just that.

I would never understand photography, the sneaky, murderous taxidermy of it.

I don't just look at the thing itself or at the reality itself; I look around the edges for those little askew moments-kind of like what makes up our lives-those slightly awkward, lovely moments.

The photograph is literally an emanation of the referent. From a real body, which was there, proceed radiations which ultimately touch me, who am here; the duration of the transmission is insignificant; the photograph of the missing being, as Sontag says, will touch me like the delayed rays of a star.

The Photograph is an extended, loaded evidence — as if it caricatured not the figure of what it represents (quite the converse) but its very existence ... The Photograph then becomes a bizarre (i)medium(i), a new form of hallucination: false on the level of perception, true on the level of time: a temporal hallucination, so to speak, a modest (o)shared(i) hallucination (on the one hand 'it is not there,' on the other 'but it has indeed been'): a mad image, chafed by reality.

One of the risks of appearing in public is the likelihood of being photographed.

Life is not about significant details, illuminated a flash, fixed forever.Photographs are.

Photography is a magical kind of art that allows people to preserve time and moments, and to describe the world the way they see it.

In an initial period, Photography, in order to surprise, photographs the notable; but soon, by a familiar reversal, it decrees notable whatever it photographs. The 'anything whatever' then becomes the sophisticated acme of value.

John Loengard, the picture editor at Life, always used to tell me, ”If you want something to look interesting, don’t light all of it.

A professor I had in college used to tell me that if someone won’t listen to what you have to say because you’re not wearing a tie, then put on a tie, ’cause what you have to say is more important than not wearing a tie. He was right.

We all perform. It's what we do for each other all the time, deliberately or unintionally. It's a way of telling about ourselves in the hope of being recognized as what we'd like to be.--PERFORMANCE

For Death must be somewhere in a society; if it is no longer (or less intensely) in religion, it must be elsewhere; perhaps in this image which produces Death while trying to preserve life. Contemporary with the withdrawal of rites, Photography may correspond to the intrusion, in our modern society, of an asymbolic Death, outside of religion, outside of ritual, a kind of abrupt dive into literal Death.

Unpredictability. Accidents. Not good when you’re engaging in, say, brain surgery, but when lighting...wonderful!

A photograph is a click away. A good photograph is a hundred clicks away and a better one, a thousand clicks away

If only I had thought of a Kodak! I could have flashed that glimpse of the Under-world in a second, and examined it at leisure.

For the photograph's immobility is somehow the result of a perverse confusion between two concepts: the Real and the Live: by attesting that the object has been real, the photograph surreptitiously induces belief that it is alive, because of that delusion which makes us attribute to Reality an absolute superior, somehow eternal value; but by shifting this reality to the past ('this-has-been'), the photograph suggests that it is already dead.

We know the original relation of the theater and the cult of the Dead: the first actors separated themselves from the community by playing the role of the Dead: to make oneself up was to designate oneself as a body simultaneously living and dead: the whitened bust of the totemic theater, the man with the painted face in the Chinese theater, the rice-paste makeup of the Indian Katha-Kali, the Japanese No mask ... Now it is this same relation which I find in the Photograph; however 'lifelike' we strive to make it (and this frenzy to be lifelike can only be our mythic denial of an apprehension of death), Photography is a kind of primitive theater, a kind of Tableau Vivant, a figuration of the motionless and made-up face beneath which we see the dead.

It is as if the Photograph always carries its referent with itself, both affected by the same amorous or funereal immobility, at the very heart of the moving world: they are glued together, limb by limb, like the condemned man and the corpse in certain tortures; or even like those pairs of fish (sharks, I think, according to Michelet) which navigate in convoy, as though united by an eternal coitus.

Each photograph is read as the private appearance of its referent: the age of Photography corresponds precisely to the explosion of the private into the public, or rather into the creation of a new social value, which is the publicity of the private: the private is consumes as such, publicly.

You’ve gotta taste the light, like my friend and fellow shooter Chip Maury says. And when you see light like this, trust me, it’s like a strawberry sundae with sprinkles.

What pricks me is the discovery of this equivalence. In front of the photograph of my mother as a child, I tell myself: She is going to die: I shudder… over a catastrophe which has already occurred. Whether or not the subject is already dead, every photograph is this catastrophe.

We regard the photograph, the picture on our wall, as the object itself (the man, landscape, and so on) depicted there. This need not have been so. We could easily imagine people who did not have this relation to such pictures. Who, for example, would be repelled by photographs, because a face without color and even perhaps a face in reduced proportions struck them as inhuman.

When I was in school, I wanted to be W. Eugene Smith. He was a legendary staffer at Life, a consummate photojournalist, and an architect of the photo essay. He was also kinda crazy.That was obvious when he came to lecture at Syracuse University and put a glass of milk and a glass of vodka on the lectern. Both were gone at the end of the talk. He was taking questions and I was in the front row, hanging on every word.Mr. Smith, is the only good light available light?” came the question.He leaned into the microphone. “Yes,” he baritoned, and paused.A shudder ran through all of us. That was it! No more flash! God’s light or nothing!But then he leaned back into the mic, “By that, I mean, any &*%%@$ light that’s available.”Point taken.

That frame of mind that you need to make fine pictures of a very wonderful subject, you cannot do it by not being lost yourself.

As objects of contemplation, images of the atrocious can answer to several different needs. To steel oneself against weakness. To make oneself more numb. To acknowledge the existence of the incorrigible.

Usually the amateur is defined as an immature state of the artist: someone who cannot — or will not — achieve the mastery of a profession. But in the field of photographic practice, it is the amateur, on the contrary, who is the assumption of the professional: for it is he who stands closer to the (i)noeme(i) of Photography.

Photography is simultaneously and instantaneously the recognition of a fact and the rigorous organization of visually perceived forms that express and signify that fact

Guys don't understand great art. They don't care that sometimes the camera has power beyond the photographer to record emotion that only the heart can see. They're threatened when the camera jumps ahead of me. Todd Kovich was pissed when I brought my Nikon to the prom, but I'd missed too many transcendent shots over the years to ever take a chance of missing one again. A prom, I told him, had a boundless supply of photogenic bozos who could be counted on to do something base.

But I've always been a sucker for externals alone: the shape, the shine, what the surface suggests to my palm. So mechanically disinclined it's verging on criminal, I never understood the beauty of an object's workings until Linny sat my reluctant self down one day and showed me her camera. Within fifteen minutes, I had fallen hard for the whole gadgety, eyelike nature of the thing: a tiny piece of glass slowing, bending, organizing light - light - into your grandmother, the Grand Canyon, the begonia on the windowsill, the film keeping the image like a secret. Grandmother, canyon, begonia tucked neatly into the sleek black box, like bugs in a jar. My mind boggled.

Jay Maisel always says to bring your camera, ‘cause it’s tough to take a picture without it. Pursuant to the above aforementioned piece of the rule book, subset three, clause A, paragraph four would be…use the camera.Put it to your eye. You never know. There are lots of reasons, some of them even good, to just leave it on your shoulder or in your bag. Wrong lens. Wrong light. Aaahhh, it’s not that great, what am I gonna do with it anyway? I’ll have to put my coffee down. I’ll just delete it later, why bother? Lots of reasons not to take the dive into the eyepiece and once again try to sort out the world into an effective rectangle.It’s almost always worth it to take a look.

I imagine that the essential gesture of the Operator is to surprise something or someone (through the little hole in the camera), and that this gesture is therefore perfect when it is performed unbeknownst to the subject being photographed. From this gesture derive all photographs whose principle (or better whose alibi) is “shock”; for the photographic “shock” consists less in traumatizing than in revealing what was so well hidden that the actor himself was unaware or unconscious of it.

One of the marks of our world is perhaps this reversal: we live according to a generalized image-repertoire. Consider the United Sates, where everything is transformed into images: only images exist and are produced and are consumes ... Such a reversal necessarily raises the ethical question: not that the image is immoral, irreligious, or diabolic (as some have declared it, upon the advent of the Photograph), but because, when generalized, it completely de-realizes the human world of conflicts and desires, under cover of illustrating it.

The only thing they'll let you shoot with a camera.

Perhaps the central question about [Eliot] Porter's work is about the relationship between science, aesthetics, and environmental politics. His brother, the painter and critic Fairfield Porter, wrote in a 1960 review of [Porter's] colour photographs: 'There is no subject and background, every corner is alive,' and this suggests what an ecological aesthetic might look like.

Another unary photograph is the pornographic photograph (I am not saying the erotic photograph: the erotic is a pornographic that has been disturbed, fissured). Nothing more homogeneous than a pornographic photograph. It is always a naive photograph, without intention and without calculation. Like a shop window which shows only one illuminated piece of jewelry, it is completely constituted by the presentation of only one thing: sex: no secondary, untimely object ever manages to half conceal, delay, or distract... A proof a contrario: Mapplethorpe shifts his close-ups of genitalia from the pornographic to the erotic by photographing the fabric of underwear at very close range: the photograph is no longer unary, since I am interested in the texture of the material. The presence (the dynamics) of this blind field is, I believe, what distinguishes the erotic photograph from the pornographic photograph. Pornography ordinarily represents the sexual organs, making them into a motionless object (a fetish), flattered like an idol that does not leave its niche; for me, there is no punctum in the pornographic image; at most it amuses me (and even then, boredom follows quickly). The erotic photograph, on the contrary (and this is its very condition), does not make the sexual organs into a central object; it may very well not show them at all; it takes the spectator outside its frame, and it is there that I animate this photograph and that it animates me.

The unary Photograph has every reason to be banal, 'unity' of composition being the first rule of vulgar (and notably, of academic) rhetoric: 'The subject,' says one handbook for amateur photographers, 'must be simple, free of useless accessories; this is called the Search for Unity.

I feel that the Photograph creates my body or mortifies it, according to its caprice (apology of this mortiferous power: certain Communards paid with their lives for their willingness or even their eagerness to pose on the barricades: defeated, they were recognized by Thiers's police and shot, almost every one).

Remember that even just watching animals has an impact. Intrusion into their living space can expose them to predation, keep them from feeding or other essential activities, or cause them to leave their young exposed to predation or the elements. No photo or viewing opportunity is worth harassing or stressing wildlife. In appreciating and watching them, we have a responsibility to protect and preserve the animals that share our state.

It is by studium that I am interested in so many photographs, whether I receive them as political testimony or enjoy them as good historical scenes: for it is culturally (this connotation is present in studium) that I participate in the figures, the faces, the gestures, the settings, the actions.

Hence the detail which interests me is not, or at least is not strictly intentional, and probably must not be so; it occurs in the field of the photographed thing like a supplement that is at once inevitable and delightful; it does not necessarily attest to the photographer's art; it says only that the photographer was there, or else, still more simply, that he could not (i)not(i) photograph the partial object at the same time as the total object (how could Kerész have 'separated' the dirt road from the violinist walking on it?). The Photographer's 'second sight' does not consist in 'seeing' but in being there. And above all, imitating Orpheus, he must not turn back to look at what he is leading — what hi is giving to me!

Most people feel that the world looks like the photograph. I've always assumed that the photograph is nearly right, but that little bit by which it misses makes it miss by a mile. This is what I grope at.

The (i)studium(i) is ultimately always coded, the (i)punctum is not)...

Photographs are just light and time" - Aza Holmes

The subject, timing and light makes a photograph, great. Greater, is the photographer when he senses these are right.

Knowing the right timings, good photographs. Learning from bad timings, better photographs.

Known as “Leni,” Helene Bertha Amalie Riefenstahl was born on August 22, 1902. During the Third Reich she was known throughout Germany as a close friend and confidant of the Adolf Hitler. Recognized as a strong swimmer and talented artist, she studied dancing as a child and performed across Europe until an injury ended her dancing career. During the 1920’s Riefenstahl was inspired to become an actress and starred in five motion pictures produced in Germany. By 1932 she directed her own film “Das Blaue Licht.” With the advent of the Hitler era she directed “Triumph des Willens” anf “Olympia” which became recognized as the most innovative and effective propaganda films ever made. Many people who knew of her relationship with Hitler insisted that they had an affair, although she persistently denied this. However, her relationship with Adolf Hitler tarnished her reputation and haunted her after the war. She was arrested and charged with being a Nazi sympathizer, but it was never proven that she was involved with any war crimes. Convinced that she had been infatuated and involved with the Führer, her reputation and career became totally destroyed. Her former friends shunned her and her brother, who was her last remaining relative, was killed in action on the “Eastern Front.” Seeing a bleak future “Leni” Riefenstahl left Germany, to live amongst the Nuba people in Africa. During this time Riefenstahl met and began a close friendship with Horst Kettner, who assisted her with her acknowledged brilliant photography. They became an item from the time she was 60 years old and he was 20. Together they wrote and produced photo books about the Nuba tribes and later filmed marine life. At that time she was one of the world's oldest scuba divers and underwater photographer. Leni Riefenstahl died of cancer on September 8, 2003 at her home in Pöcking, Germany and was laid to rest at the Munich Waldfriedhof.

I used to have a theory about photographing. It was a sense of getting in between two actions, or in between acton and repose.

I believe all photographers want to be remembered for their images. They reflect a piece of their soul.

Photography is my other kind of music.

Images are mediations between the world and human beings. Human beings 'ex-ist', i.e. the world is not immediately accessible to them and therefore images are needed to make it comprehensible. However, as soon as this happens, images come between the world and human beings. They are supposed to be maps but they turn into screens: Instead of representing the world, they obscure it until human beings' lives finally become a function of the images they create. Human beings cease to decode the images and instead project them, still encoded, into the world 'out there', which meanwhile itself becomes like an image - a context of scenes, of states of things. This reversal of the function of the image can be called 'idolatry'; we can observe the process at work in the present day: The technical images currently all around us are in the process of magically restructuring our 'reality' and turning it into a 'global image scenario'. Essentially this is a question of 'amnesia'. Human beings forget they created the images in order to orientate themselves in the world. Since they are no longer able to decode them, their lives become a function of their own images: Imagination has turned into hallucination.

What makes Capa a great photo journalist?" asks a reporter covering a 1998 retrospective of his work. "We see his own appetite for life, his mix of urgency with compassion . . . the artistic thrust of his photography always had more to do with its emotional pitch, which remained genuine and deeply felt." Or, in Capa's own words, a great picture "is a cut out of the whole event which will show more of the real truth of the affair to some one who was not there than the whole scene.

Walking the streets with camera in hand is akin to being on a treasure hunt as a child.

what is ceremonious and curious and commonplace will be legendary.

— How do you make your pictures? — I don’t know, it’s not important.

Photography is the art of making memories tangible.

You are responsible for every element within the frame.

As long as we’re alive and interacting with life, the world, and the people around us, we’ll have something to say.

A photograph can communicate a couple things— and sometimes only one thing—very well. The more you try to say with your photograph, the greater the chance that you will say nothing at all.

I've hardly taken any pictures on this trip. Melanie teased me about it, to which I always said I preferred to experience something rather than obsessively record it. Though, really, the truth of it was, unlike Melanie (who wanted to remember the shoe salesman and the mime and the cute waiter and all the other people on the tour), none of that really mattered to me. At the start of the trip, I took shots of the sights. The Colosseum. Belvedere Palace. Mozart Square. But I stopped. They never came out very well, and you could get postcards of these things.But there are no postcards of this. Of life.

At age four I was a camera. I took pictures with my eyes. I framed my photo within my vision and blinked my eyes to snap the shutter of my memory. Since that time, I've been impersonating inanimate objects at every opportunity.

All of those thousands upon thousands of photographs my father had taken. Think of them instead. Each one a record, a testament, a bulwark against forgetting, against nothingness, against death. Look, this happened. A thing happened, and now it will never un happen. Here it is in a photograph: a baby putting its tiny hand in the wrinkled palm of an octogenarian. A fox running across a woodland path and a man raising a gun to shoot it. A plane crash. A comet smeared across a morning sky. A prime minister wiping his brow. The Beatles, sitting at a cafe table on the Champs-Elysees on a cold January day in 1964, John Lennon's pale face under the brim of a fisherman's cap. all these things happened, and my father committed them to a memory that wasn't just his own, but the world's. My father's life wasn't about disappearance. His was a life that worked against it.

The horizon is the fine line between golden hour and blue hour.

If there can be a better way for the real world to include the one of images, it will require an ecology not only of real things but of images as well.

If I like a photograph, if it disturbs me, I linger over it. What am I doing, during the whole times I remain with it? I look at it, I scrutinize it, as if I wanted to know more about the thing or the person it represents... I want to outline the loved face by thought, to make it into the unique field of an intense observation; I want to enlarge this face in order to see it better, to understand it better, to know its truth.

It’s not lost on me that I’m so busy recording life, I don’t have time to really live it.

Whosoever possesses a camera should never know boredom.

Photographs shape the past in our own image.

When we are reading, a voice comes to us as in the dark and whispers, "Imagine!" Samuel Beckettas told by Bill Moyer in the Foreword he wrote for, The Public Library: A Photographic Essay by Robert Dawson. Afterword by Ann Patchett

Your most important gear is your eye, heart and soul.

Photography is the story I fail to put into words.

if you have the tools but do not have the visual concept, the tools do not work

do not take pictures to please the public, the photo should be spontaneous and free

Any moment which is not captured is loss in the events of time.

I take same picture twice, First with my heart then camera.

Photography captures a moment in time. Art captures time in a moment.

remember... the picture should tell a story in itself, and should have a spontaneous approach

Any moment which is not captured is loss in events of time.

If you want to learn what someone fears losing, watch what they photograph.

She believed photography to be the greatest of all art forms because it was simultaneously junk food and gourmet cuisine, because you could snap dozens of pictures in a couple of hours, then spend dozens of hours perfecting just a couple of them.

Nature is a picture waiting to be taken.

Photographers are the history makers, because every picture is a moment which gone fore ever and can not be re shoot.”― Biju Karakkonam Nature and Wild life Photographer

The captain was amusing. He said that he himself couldn't draw and proved his words by drawing his own house for his prisoner to see. It was just such a house as the babies drew in the kindergarten: a square box with four square windows, a door and two chimneys, each with a neat curl of smoke. "That's best I can do," said the Captain, laughing.Max laughed with him for politeness' sake, though inwardly he was shocked that an important man like the Captain made a fool of himself. "Vater does not draw," he said kindly, "nor does Mutti; but they are both very keen on photography. Perhaps you are good at that?""Not brilliant," said the Captain.

Adequate photographers use their sight, good photographers use their senses, and great photographers use their souls.

He's got a box with a demon in it that draws pictures," said Rincewind shortly. "Do what the madman says and he will give you gold.

I love women more on canvas than real life, for they seldom change on canvas!

To take a picture is to have an interest in things as they are, in the status quo remaining unchanged, to be in complicity with whatever makes a subject interesting, worth photographing-including, when that is the interest, another person's pain or misfortune.

Starting a new chapter is much like composing the perfect photograph. You must ensure the proper components are there. You may throw out the extra, but with out the key elements the story goes untold.

There is the satisfaction of being able to look at the image without flinching. There is the pleasure of flinching.

When you take pictures of nature with passion, nature poses for you more passionately!

A good selfie is when you successfully capture the feeling of that very moment!

Recently, photography has become almost as widely practiced an amusement as sex and dancing – which means that, like every mass art form, photography is not practiced by most people as art. It is mainly a social rite, a defense against anxiety, and a tool of power.

A perfectly clear photograph is a distortion of reality.

Photography is not a lens but eye, not a business but art

A camera is just like a woman, as long as you have one of them hanging around your neck....life is just fine

As a war correspondent and a mother, I've learned to live in two different realities. It's not always easy to make the transition from a beautiful London park filled with children to a war zone, but it's my choice. I choose to live in peace and witness war- to experience the worst in people but to remember the beauty.

I am intrigued with scriptural mythology that tells us that God created a divine feminine presence to dwell amongst humanity. This concept has had a constant influence on the work. I have imagined her as ubiquitous, watchful, and often in motion. This work is, in effect, the photographic image of the invisible.

They were both smiling so hard, it was surprising the frame could contain the happiness of that moment, surprising that it didn't shatter into a million pieces, floating all over the funeral home like dust.

To photograph people is to obligate them in some way to face things they weren't expecting to.

By shooting the darkest areas three zones lighter, you turned a black, lifeless max black zone 0 into a zone 3. I think, in life, most of us did this all the time.

The instant before something comes into focus is more exciting than any sharp certainty. Photography, child, is about the passing of time. Capturing is the goal of literature. Timelessness is the task of music and painting. But a good photograph holds time just as a vase holds water. The water will evaporate and the vase becomes a memorial to it. What separates a snapshot from a masterpiece is that the latter is a metaphor of patience...

A photograph is both a pseudo-presence and a token of absence. Like a wood fire in a room, photographs—especially those of people, of distant landscapes and faraway cities, of the vanished past—are incitements to reverie. The sense of the unattainable that can be evoked by photographs feeds directly into the eroticfeelings of those for whom desirability is enhanced by distance.

Pictures can be pretty deceptive.

When I have a camera in my hand, I know no fear.

This is the hardest stuff in the world to photograph. You need a three-hundred-and-sixty-degree lens, or something. You see it, and then you look down in the ground glass and it's just nothing. As soon as you put a border on it, it's gone.

If life worked on auto mode then there manual mode for photography would have never existed.

No, I don't work here, I'm taking pictures of messy bathrooms for a photo essay on the American West. But I'm always up for clean, so if you want to pitch in, I've got Pine Sol and a sponge in my car... It's that VW microbus parked next to the dumpster, and you don't need a key, just pull hard.

I believe that, through the act of living, the discovery of oneself is made concurrently with the discovery of the world around us, which can mold us, but which can also be affected by us. A balance must be established between these two worlds—the one inside us and the one outside us.

To take photographs is to hold one's breath when all faculties converge in the face of fleeing reality. It is at that moment that mastering an image becomes a great physical and intellectual joy.To take photographs means to recognize—simultaneously and within a fraction of a second—both the fact itself and the rigorous organization of visually perceived forms that give it meaning. It is putting one's head, one's eye, and one's heart on the same axis.

Of all the means of expression, photography is the only one that fixes forever the precise and transitory instant. We photographers deal in things that are continually vanishing, and when they have vanished, there is no contrivance on earth that can make them come back again. We cannot develop and print a memory. The writer has time to reflect. He can accept and reject, accept again; and before committing his thoughts to paper he is able to tie the several relevant elements together. There is also a period when his brain "forgets," and his subconscious works on classifying his thoughts. But for photographers, what has gone is gone forever.

For me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously. In order to "give a meaning" to the world, one has to feel oneself involved in what one frames through the viewfinder. This attitude requires concentration, a discipline of the mind, sensitivity, and a sense of geometry.

(...) photography opened up quite a little Pandora's box, kiddies. (...) Once we no longer had to depend on drawing and painting to record our existence — once they became an option — they mutated . . . into a form of expression. And Art for its own sake, God help us, was born.

When you press the shutter, time won't see which camera, it will still get freezed in a moment... and thats the best Farewell for that moment.

Look― shoot all you want. With a camera you can barely capture a soul at a time. With planned obsolescence, you can terminate everyone's future at once and they'll never know what hit them.

Actually, no. I won't ever go digital. I work with thirty-five or large format. I like the hand-jobs, you know. And I still do most of my own printing. I've developed such a profound distaste for touch-up and modern artifice—comes from snapping too many derelicts and detritus, perhaps, but I love it. Photo bloody Shop can go stuff it. A picture should be honest, even if the subject is contrived on the ground, you know; not dolled-up for advertising punch or sex appeal.

Life is like photography. You need the negatives to develop.

God creates the beauty. My camera and I are a witness.

A photograph is always invisible, it is not it that we see.

My job as a portrait photographer is to seduce, amuse and entertain.

I also have to add that if Rembrandt had been given a camera then that guys understanding of light and form would have blown the rest of us shooters into a black hole of despair.

God creates the beauty. Through my camera, I am a witness.

Stirton's work, he says, is now all about investigation. 'You literally are trying to find out what's happening and, finally, manoeuvre yourself to the point where you can take a picture, and then you're presented with a 20-minute window where it's: Okay, now get your picture!' His voice is charged with emotion. 'Fucking angst and worry and, you know, FEAR of failure – every aspect of that comes into those 20 minutes, so it's a very intense experience. So when I make those pictures, I'm worried; I’m nervous.

What's required of me in the field is to feel,' Stirton says with emphasis. 'And trying to take that feeling and put it in a form that communicates a particular set of emotions or circumstances - whether that involves depicting masculine pride, or a particular kind of suffering, or love, or closeness - my primary job is to feel and to try to put that feeling into some kind of visual form. My goal is to get to the heart of each story, you know? I’m trying to evolve in my work.

It's amazing how photography can capture just a split second of something exquisite.

Sharpness is a bourgeois concept

He took twelve pictures that day.Within a few days he showed me the contact sheet. "This one has the magic," he said. When I look at it now, I never see me. I see us.

The photographer is now charging real beasts, beleaguered and too rare to kill. Guns have metamorphosed into cameras in this earnest comedy, the ecology safari, because nature has ceased to be what it always had been - what people needed protection from. Now nature - tamed, endangered, mortal - needs to be protected from people. When we are afraid, we shoot. But when we are nostalgic, we take pictures.

The camera basically is a license to explore.

In my view you cannot claim to have seen something until you have photographed it.

So, what do you photograph?”I swallow my wine.“What?”“You know – city scapes, nature, portraits, candid shots...”Boobs. I photograph boobs.“Uhh... people?

With the daguerreotype everyone will be able to have their portrait taken—formerly it was only the prominent—and at the same time everything is being done to make us all look exactly the same, so we shall only need one portrait.

The single most important component of a camera is the twelve inches behind it!

The cliché comes not in what you shoot but in how you shoot it.

What can be proved by a photograph, can never be by a word.

Photography helps people to see.

I have a print - you can buy them at the Victoria and Albert Museum - of a photograph of the village street of Thetford, taken in 1868, in which William Smith is not. The street is empty. There is a grocer's shop and a blacksmith's and a stationary cart and a great spreading tree, but not a single human figure. In fact William Smith - or someone, or several people, dogs too, geese, a man on a horse - passed beneath the tree, went into the grocer's shop, loitered for a moment talking to a friend while the photograph was taken but he is invisible, all of them are invisible. The exposure of the photograph - sixty minutes - was so long that William Smith and everyone else passed through it and away leaving no trace. Not even so much of a mark as those primordial worms that passed through the Cambrian mud of northern Scotland and left the empty tube of their passage in the rock.I like that. I like that very much. A neat image for the relation of man to the physical world. Gone, passed through and away.

A representational photograph says, 'This is what Vienna looked like.' An interpretational photograph goes one better and says, 'This is what Vienna was like. This is how I felt about it.

What was the barn like before it was photographed?' he said. 'What did it look like, how was it different from other barns, how was it similar to other barns? We can't answer these questions because we've read the signs, seen the people snapping the pictures. We can't get outside the aura. We're part of the aura. We're here, we're now.

It’s the difference between your wife’s passport photograph and the portraits you took when you gotengaged. Both may have been created with similar technology, but what stands in that great gulf between them are the passion you have for your wife, the knowledge you have of her personality, and your willingness to use your craft, time, and energy to express that. One says, “She looks like this.” The other says, “This is who she is to me. It’s how I feel about her. See how amazing she is?

Later, Jenny would say she seldom knew what she would take a picture of when she picked up a camera, that she only knew once she peered through the viewfinder, as if the photograph had finally found her.

If the photographer isn't going to pay attention to the picture he is making, that if he thinks the camera is just a machine and not an avenue of expression, then he has no business asking anyone for anything, let alone their time and interest. Don't show the world, he said, invent the world.

Among the things she said: "Women seem to possess all the natural gifts essential to a good portraitist ... such as personality, patience and intuition. The sitter ought to be the predominating factor in a successful portrait. Men portraitist are apt to forget this; they are inclined to lose the sitter in a maze of technique luxuriating in the cleverness and beauty of their own medium.

Photography is a way of feeling, of touching, of loving. What you have caught on film is captured forever…it remembers little things, long after you have forgotten everything.

Photographs shock insofar as they show something novel.

When you photograph people in color, you photograph their clothes. But when you photograph people in Black and white, you photograph their souls!

When people look at my pictures I want them to feel the way they do when they want to read a line of a poem twice.

The eye should learn to listen before it looks.

Always seeing something, never seeing nothing, being photographer

Photography is a reality so subtle that it becomes more real than reality.

Above all, life for a photographer cannot be a matter of indifference

The whole point of taking pictures is so that you don’t have to explain things with words.

What's really important is to simplify. The work of most photographers would be improved immensely if they could do one thing: get rid of the extraneous. If you strive for simplicity, you are more likely to reach the viewer.

A photograph is a secret about a secret. The more it tells you, the less you know.

I am a professional photographer by trade and an amateur photographer by vocation.

Still photographs are the most powerful weapon in the world. People believe them, but photographs do lie, even without manipulation. They are only half-truths.

The key is to integrate our art into our life, not the other way around.

These are the two basic controls at the photographer's command--position and timing--all others are extensions, peripheral ones, compared to them

It's been said that the role of the artist is to teach us to see and that's true. However, the role of other artists is to teach me how they see. To learn how I see is somethig that cannot be taught but must be learned.

Everything that flickered could be made permanent. That was what drew him to photography, what made every painstaking step worth it: the permanence of the image. That was what fascinated him, the working against time...

Any files I give to the model are downsized (typically 800x1200 pixels)... By not giving out my high resolution files, they cannot be used without my knowledge.

I am not a photographer , I am a canon owner !!!

If you can see it, you can shoot it.

I don't trust words. I trust pictures.

The context in which a photograph is seen affects the meaning the viewer draws from it.

You think too much and I bet it kills the magic," he says simply. "Some things are just instinct and if you try and replace that with thinking they die. You can read and think as much as you want before and after, but in the moment, man, you have to, like, let go.

Every photo tells a story but remember this, there was a story teller behind the lens.

I look for ambiguity because life is ambiguous!

A photograph is a biography of a moment.

Weston, having been born in Chicago, was raised with typical, well-grounded, mid-western values. On his 16th birthday, his father gave him a Kodak camera with which he started what would become his lifetime vocation. During the summer of 1908, Weston met Flora May Chandler, a schoolteacher who was seven years older than he was. The following year the couple married and in time they had four sons.Weston and his family moved to Southern California and opened a portrait studio on Brand Boulevard, in the artsy section of Glendale, California, called Tropico. His artistic skills soon became apparent and he became well known for his portraits of famous people, such as Carl Sandburg and Max Eastman. In the autumn of 1913, hearing of his work, Margrethe Mather, a photographer from Los Angeles, came to his studio, where Weston asked her to be his studio assistant. It didn’t take long before the two developed a passionate, intimate relationship. Both Weston and Mather became active in the growing bohemian cultural scene in Los Angeles. She was extremely outgoing and artistic in a most flamboyant way. Her bohemian sexual values were new to Weston’s conventional thinking, but Mather excited him and presented him with a new outlook that he found enticing. Mather was beautiful, and being bisexual and having been a high-class prostitute, was delightfully worldly. Mather's uninhibited lifestyle became irresistible to Weston and her photography took him into a new and exciting art form. As Mather worked and overtly played with him, she presented a lifestyle that was in stark contrast to Weston’s conventional home life, and he soon came to see his wife Flora as a person with whom he had little in common.Weston expanded his horizons but tried to keep his affairs with other women a secret. As he immersed himself further into nude photography, it became more difficult to hide his new lifestyle from his wife. Flora became suspicious about this secret life, but apparently suffered in silence. One of the first of many women who agreed to model nude for Weston was Tina Modotti. Although Mather remained with Weston, Tina soon became his primary model and remained so for the next several years. There was an instant attraction between Tina Modotti, Mather and Edward Weston, and although he remained married, Tina became his student, model and lover. Richey soon became aware of the affair, but it didn’t seem to bother him, as they all continued to remain good friends. The relationship Tina had with Weston could definitely be considered “cheating,” since knowledge of the affair was withheld as much as possible from his wife Flora May.Perhaps his wife knew and condoned this new promiscuous relationship, since she had also endured the intense liaison with Margrethe Mather. Tina, Mather and Weston continued working together until Tina and Weston suddenly left for Mexico in 1923.As a group, they were all a part of the cozy, artsy, bohemian society of Los Angeles, which was where they were introduced to the then-fashionable, communistic philosophy.

Only photography has been able to divide human life into a series of moments, each of them has the value of a complete existence.

In the dry places, men begin to dream. Where the rivers run sand, there is something in man that begins to flow. West of the 98TH Meridian - where it sometimes rain and it sometimes doesn’t – towns, like weeds, spring up when it rains, dry up when it stops. But in a dry climate, the husk of the plant remains. The stranger might find, as if preserved in amber, something of the green life that was once lived there, and the ghosts of men who have gone on to a better place. The withered towns are empty, but not uninhabited. Faces sometimes peer out from the broken windows, or whisper from the sagging balconies, as if this place – now that is dead – had come to life. As if empty it is forever occupied. Reproduced in THE BORSCHT BELT from The Works of Love by Wright Morris by permission of the University of Nebraska Press. Copyright 1949, 1951 by Wright Morris.

Ultimately, what I am seeking in the photograph taken of me... is Death: Death is the eidos of that Photograph

You keep doing that and your camera is likely to explode.”“Are you crazy?” Alfred smirked. “My camera is like me.” “How so?” “It adores you,” Alfred told him.

To me, the world and art of photography is to capture emotion, feelings and moments; and share it with the world.I master the art when I am capable of awaking emotion in other people through my images.

When I make a picture, I make love.

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Let us take you into a deeper experience, make a moment a lasting conveyable memory. Let us help build your tribe.

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There had to be something new, some fresh angle. As the rain pattered down around him, Kapenda thought. What was the weirdest thing he'd seen since this all started? He'd been in the tiny town of Chew Stoke a few weeks earlier, filming the remains of a vehicle that had been washed into a culvert and whose driver had died. In Grovehill, no one had died yet but there were abandoned cars strewn along the streets and surrounding tracks, hulking shapes that the water broke around and flowed over in fractured, churning flurries.That was old. Every television station had those shots.He'd been there the year before when the police had excavated a mud-filled railway tunnel and uncovered the remains of two people who had been crushed in a landslide. What they needed was something like that here, something that showed how weak man's civilized veneer was when set against nature's uncaring ferocity. He needed something that contrasted human frailty and natural strength, something that Dali might have painted - a boat on a roof, or a shark swimming up the main street. He needed that bloody house to collapse.("Into The Water")

Life is likephotography we develop from the negatives

And for the world's orphans. A portion of this book's proceeds will go to you.

As Marcel Proust understood, memory is not exclusively or even predominantly visual. It is synesthetic, a combination and even a confusion of the senses that no simple image can reach or encapsulate. A photograph can act as a spur to memory, it can yield treasures, like looking under your bed and finding the baseball card you were certain you lost. But an image stands mute before the inexpressible delicacy, horror, humor, and associative complexity of our experience.

We are living in a moment where we have broken the equilibrium of the planet. We are not paying attention to our intuitive side. We only pay attention to our reason. We have become an urban animal

My best photo will be the last one, that I want to be taken.

It is not enough for the Jew to rest content with his own spiritual ascent, the elevation of his soul in closeness to G-d, he must strive to draw spirituality down into the world and into every part of it – the world of his work and his social life – until not only do they not distract him from his pursuit of G-d, but they become a full part of it.

Beauty can be seen in all things, seeing and composing the beauty is what separates the snapshot from the photograph.

The canvas is the door to another dimension. The paintbrush is the key.

A lot of photographers think that if they buy a better camera they’ll be able to take better photographs. A better camera won’t do a thing for you if you don’t have anything in your head or in your heart.

Great photography is about depth of feeling, not depth of field.

Look and think before opening the shutter. The heart and mind are the true lens of the camera.

A good photograph is one that communicates a fact, touches the heart and leaves the viewer a changed person for having seen it. It is, in a word, effective.

I've never taken a photograph of someone and created a persona, I've just discovered what was already there.

An art prodigy of the 21st century has yet to be crowned. Or have they?

If you are out there shooting, things will happen for you. If you’re not out there, you’ll only hear about it.

Light makes photography. Embrace light. Admire it. Love it. But above all, know light. Know it for all you are worth, and you will know the key to photography.

Looking at Loh’s photographs, it is obvious that there is nothing simpler and richer than a face when stripped of all effects and affects, poses and postures, stances and pretences. The Singaporeans featured here are almostexpressionless, as if the photographer wanted to leave us clueless about them. What do their faces tell us? Why are they so familiar? Why do we feel we know this auntie that we don’t know? And this guy with the nondescript look? And this girl with no distinguishing mark? Have we met before?

In a few years, it is very likely that this series will be considered a milestone in the history of Singapore photography.

The visual arts will one day be king. The pop stars and celebrities soon to be forgotten.

Photography is not something you retire from.

As a young person, and I know it’s hard to believe that I was shy, but you could take your camera, and it would take you to places: it was like having a friend, like having someone to go out with and look at the world. I would do things with a camera I wouldn’t do normally if I was just by myself.

In taking that photograph, I understood something I will never forget: how I wished to arrest all the beauty that came before me. Not the classical beauty of symmetry and exact proportions or the fancy of fashion, which is ever-changing with the seasons, but the beauty of a soul, that inner life that reveals itself so seldom, just for an instant, and only if you look closely and learn to see with an open heart.

In the context of photography , there was a luck.But the luck will come, when the photographer is ready.

Photography is about capturing souls, not smiles.

When I make a photograph I feel that I hold a piece of the universe in my hands.

Look for the extraordinary in the ordinary.

Collect moments rather than things. Moments get away.

There is a terrible truthfulness about photography. The ordinary academician gets hold of a pretty model, paints her as well as he can, calls her Juliet, and puts a nice verse Shakespeare underneath, and the picture is admired beyond measure. The photographer finds the same pretty girl, he dresses her up and photographs her, and calls her Juliet, but somehow it is no good – it is still Miss Wilkins, the model. It is too true to be Juliet.George Bernard ShawWilson’s Photographic Magazine, LVI, 1909

You put your camera around your neck in the morning along with putting on your shoes, and there it is, an appendage of the body that shares your life with you. The camera is an instrument that teaches people how to see without a camera.” – Dorothea Lange ('Dorothea Lange: A Photographer's Life' by Milton Meltzer)

Let’s not only take great photos, but let’s make great photos with our lives.

Stories are one of the greatest gifts we can give to our children. Stories are equipment for life.

If we continually let go of the moments, we let go of who we are and we lose ourselves.

The greatest moments in life are the ones right in front of you.

The quieter you become, the more you can hear.

Be in love with the moments of your life.

The greatest moments are right in front of you.

You see, i f you have t rue photographic vision, you have clar i ty and i f you haveclarity, you don't need to explain or defend your images.Clar i ty is about what emot ions or feel ings the image is t rying to evoke, not the fact sbehind the image.Photographic clar i ty is about passion of purpose. I t 's about a single-minded desi reto protect a memory. I t 's about story tel l ing wi th a camera that 's so power ful , nowords are necessary.

There are too many images, too many cameras now. We’re all being watched. It gets sillier and sillier. As if all action is meaningful. Nothing is really all that special. It’s just life. If all moments are recorded, then nothing is beautiful and maybe photography isn’t an art anymore. Maybe it never was

Don' t focus on NEW - focus on authent ic. Being or iginal isn' t being new - i t 's beingyou.

To sum up - i f you want to be more creat ive, star t loving yoursel f enough to giveyoursel f permission to fai l . In fact , bet ter yet , don' t even wor ry about winning orlosing. Just DO.

The time of the photograph is [always] after. This imprecision accommodates the numerous successions, the end upon seismic end, in a time without time, un[re]countable: still. In this, it is a perfect crime, “l’anéantissement anéanti, la fin… privée d’elle-même.