Quotes about photograph
page 3

“I shoot only on film and plate. I don’t touch digital. There are many reasons: mentally it’s very different to work with film. It’s expensive, it’s heavy, so you have to prepare. It’s precious and every photograph you have to say yes! It’s now! There's no fiddling about and fixing it later. I really believe the soul of photography is its relationship with the instant.”

Hélène Binet (1959) Swiss photographer

Source: Ten questions for photographer Hélène Binet http://uk.phaidon.com/agenda/photography/articles/2012/december/06/ten-questions-for-photographer-helene-binet/, Phaidon Press, 6 December 2012.

Soul

“It is not a recognisable scene [his two paintings 'Dances at the spring', 1912 - Picabia painted the motion and the excitement of a peasant dance while he was on his honeymoon in the countryside of Italy; one version is lost]. There is no dancer, no spring, no light, no perspective, nothing other than the visible clue of the sentiments I am trying to express... I would draw your attention to a song of colours, which will bring out for others the joyful sensations and feelings inspired in me on those summer days when I found myself somewhere in the country near the Italian border, where there was a spring in a wonderful garden. A photograph of that spring and that garden would in now way look like my painting 'Dance at a spring' I was shown for the first time at the w:Salon d'Automne in Paris in 1912.”

Francis Picabia (1879–1953) French painter and writer

As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 200
1920's

Way, Feeling, Spring, Light

“He could jazz up the map-reading class by having a full-size color photograph of Betty Grable in a bathing suit, with a co-ordinate grid system laid over it. The instructor could point to different parts of her and say, "Give me the co-ordinates."… The Major could see every unit in the Army using his idea…. Hot dog!”

Norman Mailer book The Naked and the Dead

On Maj. Dalleson, in Pt. 4, Ch. 1
The Naked and the Dead (1948)

Dogs, Color, Idea, Reading

“When you say journalist, it's like oh -- how many sources have you fact checked? When you say photographer -- it's, why are your photos a little bit out of focus? The answer is because I don't care. I like to call myself a storyteller so I don't have to worry about other people's definition of what correct work is.”

Brandon Stanton (1984) American photographer

CBS News, 2014; [Blogger makes intimate connections with strangers on streets of NYC, http://www.cbsnews.com/news/humans-of-new-york-blogger-talks-connecting-with-strangers/, CBS NEWS, January 2, 2014, January 6, 2014]

People, Photo

“And lately fashion photographers, bored with Rome or the Acropolis, have ventured farther afield for the frisson of syncretism. Why not Calcutta? Why not the slums of Rio? Cairo? Mexico City? The attempt is for an unearned, casual brush with awe by enlisting untouchable extras. And if the model can be seen to move with idiot stridency through tragedy, then the model is invincible. Luxury is portrayed as protective. Or protected. Austere, somehow—“spiritual.””

Richard Rodríguez (1944) American journalist and essayist

Irony posing as asceticism or as worldly-wise.
Brown : The Last Discovery of America (2003)

Fashion

“If the man who paints only the tree, or flower, or other surface he sees before him were an artist, the king of artists would be the photographer. It is for the artist to do something beyond this: in portrait painting to put on canvas something more than the face the model wears for that one day: to paint the man, in short, as well as his features; in arrangement of colours to treat a flower as his key, not as his model. This is now understood indifferently well – at least by dressmakers. In every costume you see attention is paid to the key-note of colour which runs through the composition, as the chant of the Anabaptists through the 'Prophète', or the Hugenots' hymn in the opera of that name.”

James McNeill Whistler (1834–1903) American-born, British-based artist

In a letter to 'The World', London 22 Mai, 1878; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 186
1870 - 1903

Flowers, Tree, Painting, Indifference

“We had a president, Moi, who was a dictator. He ruled the country with an iron fist, and anyone who dared question his authority was arrested, tortured, jailed or even killed. That meant that people were taught to be smart cowards, stay out of trouble. Being a coward was not an insult. Being a coward was a compliment. We used to be told that a coward goes home to his mother. What that meant: that if you stayed out of trouble you're going to stay alive. I used to question this advice, and eight years ago we had an election in Kenya, and the results were violently disputed. What followed that election was terrible violence, rape, and the killing of over 1,000 people. My work was to document the violence. As a photographer, I took thousands of images, and after two months, the two politicians came together, had a cup of tea, signed a peace agreement, and the country moved on. I was a very disturbed man because I saw the violence firsthand. I saw the killings. I saw the displacement. I met women who had been raped, and it disturbed me, but the country never spoke about it. We pretended. We all became smart cowards. We decided to stay out of trouble and not talk about it.”

Boniface Mwangi (1983) Kenyan photojournalist

The day I stood up alone

Women, People, Peace, Home

“Art comes instinctively to us, but it is so uncertain. I have in front of me photographs of all Picasso’s best works. The mere I admire them the further I feel myself removed from all art, it seems so easy, so limited! We are part of the world creation, and we ourselves create nothing.”

Arshile Gorky (1904–1948) Armenian-American painter

Source: 1930 - 1941, from 'Arshile Gorky, – Goats on the roof' (2009), p. 168: in a letter to his future wife Agnes Magruder (Mougouch), 7 Mai 1941

World, Art, Feeling, Parting

“In my use of the camera, I work to make images that go beyond, and even undermine, the conventions of "point of view." Such images transcend the limitation that would seem to be inherent in the photographic mechanism (or "point-of-view machine"). They allow the viewer to see and feel the "room"—or the world, or reality—as it is, beyond the ego’s self-reference. And such images thereby become a non-verbal means of "picturing" the essential human process of ego-transcendence—going beyond the fixed "point of view" of the ego, or the core presumption of separateness”

Adi Da Samraj (1939–2008) American writer

http://www.daplastique.com/about.php?sectionID=3

World, Feeling, Reality

“[my goal is] to photograph not a factory but the work itself from the most effective point of view.... in order to show the grandness of a machine, one should photograph not all of it but give a series of snapshots.”

Alexander Rodchenko (1891–1956) Russian artist and photographer

Quote, 1930: from Rodchenko lecture at the October group's meeting; as quoted by Margarita Tupitsyn in Chapter 'Fragmentation versus Totality: The Politics of (De)framing', in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum, New York, 1992, p. 486
the issue was not to take 'photo pictures' of the entire object but to make 'photo stills' of characteristic parts of an object

“…even more ominous … is the fact that since the Second World War a new kind of intellectual has emerged in large numbers. … he is only minimally interested in the proper intellectual significance of images and objects. Such people are not really intellectuals, but visuals … A visual is more interested in style than in content … A visual does not feel a rioting crowd being machine-gunned by the police, he simply sees a brilliant news photograph.”

John Fowles book The Aristos

The Aristos (1964)

War, People, World, Feeling

“Idiots can do what I do. When I first started to do this [projecting photos on the canvas and painting them after having them traced in details with a piece of charcoal] in the 60's, people laughed. I clearly showed that I painted from photographs. It seemed so juvenile. The provocation was purely formal - that I was making paintings like photographs. Nobody asked about what was in the pictures. Nobody asked who my Aunt Marianne was. That didn't seem to be the point.”

Gerhard Richter (1932) German visual artist, born 1932

Richter's aunt had been murdered by the Nazis in the name of euthanasia, a crime for which his father-in-law from his first marriage, a Nazi doctor named Heinrich Eufinger, had been partially responsible. Richter painted a portrait of his aunt in 1965, based on an old photo. It was called 'Tante Marianne' / 9Aunt Marianne).
after 2000, Gerhard Richter: An Artist Beyond Isms' (2002)

People, Photo, Painting

“..(Then come the lovers of art / and contemplate the bleeding work from outside. / Then come the photographers. / "New art," it says in the newspaper the following day. / The learned journals / give it a name that ends in "ism").”

Paul Klee (1879–1940) German Swiss painter

Quote (1905), # 690, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1903 - 1910

Art, Lovers, Learning

“A certain scenario kept repeating itself. The people from the magazines would take two or three shots of the band. They’d start to pack up. And then they’d sort of take me off into a corner by myself. After about the thirtieth time that a photographer asked me to take my shirt off, I started to get the picture.”

Chris Cornell (1964–2017) American singer-songwriter, musician

Interview with Details Magazine, December 1996 https://pitchfork.com/features/article/10081-chris-cornell-searching-for-solitude/, Soundgarden Era

People, Time

“A good camera does not make a good photographer, A good pen does not make a good poet.”

Prito Reza (1984) Photographer

“Anybody can take photographs. I have seen in the Herald Tribune some taken by a monkey that managed, with a Polaroid camera, as well as some camera owners. It is precisely because our profession is open to everyone that it remains, in spite of its fascinating ease, extremely difficult.”

Henri Cartier-Bresson (1908–2004) French photographer

Source: Henri Cartier-Bresson: Interviews and Conversations, 1951-1998, To Seize Life: Interview with Yvonne Baby (1961), p. 45

“Some people believe that a person’s spirit is captured when they are photographed. I invite those of you who don’t believe that to take a photograph of someone you love a stab it repeatedly with a pair of scissors. Maybe they do capture something of the soul.”

Derren Brown (1971) British illusionist

TV Series and Specials (Includes DVDs), Trick of the Mind (2004–2006)

Love, People, Soul, Personality

“[Written on back of photograph of Ruth and Daniel]
"Ruth Levinson
Third grade teacher.
She believes in me and I can be anything I want when I grow up.
I can even change the world."”

Nicholas Sparks (1965) American writer and novelist

Daniel McCallum, Chapter 28 Ira, p. 335
2009, The Longest Ride (2013)

World, Change

“Visual thinking is often driven more strongly by the conceptual knowledge we use to organize our images than by the contents of the images themselves. Chess masters are known for their remarkable memory for the pieces on a chessboard. But it's not because people with photographic memories become chess masters. The masters are no better than beginners when remembering a board of randomly arranged pieces. Their memory captures meaningful relations among the pieces, such as threats and defenses, not just their distribution in space.”

Steven Pinker book How the Mind Works

Source: How the Mind Works (1997), p. 295

People, Knowledge, Thinking, Memory

“All things are like exposed photographic plates that have no visible image on them till they have been developed.”

Samuel Butler (1835–1902) novelist

Development
The Note-Books of Samuel Butler (1912), Part VII - On the Making of Music, Pictures, and Books

“Hutte, for instance, used to quote the case of a fellow he called "the beach man ". This man had spent forty years of his life on beaches or by the sides of swimming pools, chatting pleasantly with summer visitors and rich idlers. He is to be seen, in his bathing costume, in the corners and backgrounds of holiday snaps, among groups of happy people, but no one knew his name and why he was there. And no one noticed when one day he vanished from the photographs. I did not dare tell Hutte, but I felt that " the beach man " was myself. Though it would not surprised him if I had confessed it. Hutte was always saying that, in the end, we we're all " beach men " and that the sand keeps the traces of our footsteps only a few moments "”

Patrick Modiano book Missing Person

Missing Person (1978 )

Life, Men, People, Quotes

“Some have considered such photographs as evidence that Eakins, if not homosexual or bisexual, was at least homoerotic. But the artist would undoubtedly have done the same thing with his women students if such a thing had been possible.”

Gordon Hendricks (1917–1980) American historian

Gordon Hendricks: "The Life And Work Of Thomas Eakins", Grossman Publishers : New York 1974, ISBN 0-670-42795-0, p. 160
The photographs were studies for Eakins' painting Swimming, Hendricks was the first to connect Eakins with homosexuality.

Women

“When we describe a process, or make out an invoice, or photograph a tree, we create models; without them we would know nothing of reality and would be animals. Abstract pictures are fictive models, because they make visible a reality that we can neither see nor describe, but whose existence we can postulate.”

Gerhard Richter (1932) German visual artist, born 1932

in text for catalogue of documenta 7, Kassel, 1982; as cited on collected quotes on the website of Gerhard Richter: on 'Abstract paintings' https://www.gerhard-richter.com/en/quotes/subjects-2/abstract-paintings-7 1980's

Reality, Tree, Animals

“Thoughts about the art of portraiture. Some will not recognize the truthfulness of my mirror. Let them remember that I am not here to reflect the surface (this can be done by the photographic plate), but must penetrate inside. My mirror probes down to the heart. I write words on the forehead and around the corners of the mouth. My human faces are truer than the real ones.”

Paul Klee (1879–1940) German Swiss painter

Diary entry (1901), # 136, in The Diaries of Paul Klee, 1898-1918; University of California Press, 1964
1895 - 1902

Truth, Art, Heart

“When I was younger, I was dressed up like a model, told to pose in certain ways; to tilt my head, push my lips out, suck in my cheeks. And I'd be tired at the end of the day so I'd just give the damned photographer what he wanted. It was the most mortifying experience. And the photographs were the ugliest, the most contrived…it wasn't me. then all the outtakes that you never want to see again in your life go through the teen magazines forever.”

River Phoenix (1970–1993) American actor, musician, and activist

Vogue (1990)

Life, Way

“The particular qualities and intentions of photographs tend to be swallowed up in the generalized pathos of time past.”

Susan Sontag book On Photography

"In Plato's Cave", p. 21
On Photography (1977)

Time, Past

“The excuse that the painters were documenting reality was becoming ridiculous. Photographers and film makers went far beyond them. Already it could be said that a good portrait led one to think about the painter not the model.”

Jean Metzinger (1883–1956) French painter

Cubism was born

Thinking, Reality

“Experience has shown that the mass-armies of “democratic” states fight with greater zeal when they are animated by hatred and supported by a hate-crazed populace that fancies it is fighting a holy war. Lies have therefore become military equipment, a kind of mental logistics; but it is the essence of such propaganda that its spuriousness is known only to the persons who manufacture it. The model of such operations is the famous lie-factory managed by Lord Bryce during the First World War, in which a corps of expert technicians forged photographs, while expert liars, including Arnold Toynbee, concocted stories, of “atrocities,” to inspire the emotionally overwrought British with a fanatical hatred of the incredibly bestial Germans and with a noble Christian ardor to kill them.”

Revilo P. Oliver (1908–1994) American philologist

"Revised Historiography", Liberty Bell magazine (April 1980)
1970s, 1980s

Hate, War, Lie, World

“Nick: I've also found someone to take an option on the photographs.
Mrs Prentice: What photographs?
Nick: I had a camera concealed in the room.
Mrs Prentice: When I gave myself to you the contract didn't include cinematic rights.
Nick: I'd like a hundred quid for the negatives. You've got until lunchtime.
Mrs Prentice: I shall complain to the manager.
Nick: It will do you no good. He took the photographs.
Mrs. Prentice: Oh, this is scandalous! I'm a married woman.
Nick: You didn't behave like a married woman last night.”

Joe Orton (1933–1967) English playwright and author

What the Butler Saw (1969), Act I

Night

“Have full-blown contact now. [The ongoing contacts] have been well documented here with multiple eyewitnesses as well as day and night footage with sound of the ships. Can provide all the eyewitnesses you wish. Two days ago I was hit with three balls of light within a stream of energy, after which a woman appeared to me with a strange headdress used for communication and other higher consciousness and energy works. The ship came in as a golden light from the north. It dropped down low and hovered. I have been [burnt] on my chest right over the heart. It has been photographed. These beings are extremely spiritual and technologically advanced. They have a message. This is not airy fairy, this is for real.”

James Gilliland (1952) American academic and author

James describing one of his close encounters.
Source: Montgomery, Christopher (2000), "Washington State UFO Hot Spot", UFO Magazine 15 (3): 36

Communication, Light, Appearance, Heart

“It was no accident that I found my way to Götz at the time [c. 1960-62]. This 'Informal' element runs through every picture I've painted, whether it's a landscape, or a family painted from a photograph, or the Colour Charts or a Grey picture. And so now it is a pursuit of the same objectives by other means... As I now see it, all my paintings are 'Informal'.... except for the landscapes, perhaps... The 'Informal' is the opposite of the constructional quality of classicism – the age of kings, of clearly formed hierarchies.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), p. 42, note 45 : quote on his period of Informal art

Age, Family, Way, Time

“One of the photographs in the magazine caught his eye. A homeless youth in New York City. It was the face of a human being who’d been constructed exclusively of wounds. Not time or history or ambition, nothing but wounds. The face of a person who could probably kill someone without feeling anything whatsoever.”

Ryū Murakami book Audition

Source: Audition (1997), Chapter Three

Youth, Feeling, History, Time

“The men in the laboratory… cannot be said to observe the actual objects of their curiosity at all. …The sense data on which the propositions of modern science rest are, for the most part, little photographic spots and blurs, or inky curved lines on paper. …What is directly observable is only a sign of the "physical fact"; it requires interpretation to yield scientific propositions.”

Susanne K. Langer book Philosophy in a New Key

Philosophy in a New Key (1942)

Men, Sense, Science, Parting

“It is instinctive to search for something. Abstract art is inherently about the search - and about not finding anything. My gray monochromes have the same illusionistic implications as my landscapes. I want them to be seen as narratives - even if they are narratives of nothingness. Nothing is something. You might say they are like photographs of nothing.”

Gerhard Richter (1932) German visual artist, born 1932

after 2000, Gerhard Richter: An Artist Beyond Isms' (2002)

Art, Search

“An erotic life is, for more and more people, that which can be captured on digital photographs and on video. And perhaps the torture is more attractive, as something to record, when it has a sexual component.”

Susan Sontag (1933–2004) American writer and filmmaker, professor, and activist

Regarding the Torture of Others (2004)

Life, People

“These organizational processes result in our perceptions being structured into units corresponding to objects and properties of objects. It is these larger units that may be stored and later assembled into images that are experienced as quasi-pictorial, spatial entities resembling those evoked during perception itself…. It is erroneous to equate image representations with mental photographs, since this would overlook the fact that images are composed from highly processed perceptual encodings.”

Stephen Kosslyn (1948) American psychologist

Source: Image and Mind. 1980, p. 19

“Just like a photograph,
I pick you up.
Just like a station on the radio,
I pick you up.”

Kate Bush (1958) British recording artist; singer, songwriter, musician and record producer

Song lyrics, The Sensual World (1989)

“He (the photographer) has practically created a new thing out of materials gathered from nature; upon a foundation of fact he has allowed his imagination to build up an entirely fictitious scene, and the truth of the effect will depend upon how far his perceptions have been trained by studying nature at various times, so as to know how things might look under certain circumstances.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Printing the picture and controlling its formation, p. 78

Truth, Imagination, Nature, Study

“Newspaper men, therefore, endlessly discuss the question of what is news. I judge that they will go on discussing it as long as there are newspapers. It has seemed to me that quite obviously the news-giving function of a newspaper cannot possibly require that it give a photographic presentation of everything that happens in the community. That is an obvious impossibility. It seems fair to say that the proper presentation of the news bears about the same relation to the whole field of happenings that a painting does to a photograph. The photograph might give the more accurate presentation of details, but in doing so it might sacrifice the opportunity the more clearly to delineate character. My college professor was wont to tell us a good many years ago that if a painting of a tree was only the exact representation of the original, so that it looked just like the tree, there would be no reason for making it; we might as well look at the tree itself. But the painting, if it is of the right sort, gives something that neither a photograph nor a view of the tree conveys. It emphasizes something of character, quality, individuality. We are not lost in looking at thorns and defects; we catch a vision of the grandeur and beauty of a king of the forest.”

Calvin Coolidge (1872–1933) American politician, 30th president of the United States (in office from 1923 to 1929)

1920s, The Press Under a Free Government (1925)

Men, Beauty, Communication, Question

“Bill Finger and I created the Joker. Bill was the writer. Jerry Robinson came to me with a playing card of the Joker. That's the way I sum it up. [The Joker] looks like Conrad Veidt — you know, the actor in The Man Who Laughs, [the 1928 movie based on the novel] by Victor Hugo. … Bill Finger had a book with a photograph of Conrad Veidt and showed it to me and said, 'Here's the Joker'. Jerry Robinson had absolutely nothing to do with it. But he'll always say he created it till he dies. He brought in a playing card, which we used for a couple of issues for him [the Joker] to use as his playing card".”

Bob Kane (1915–1998) American comic book artist, the creator of Batman

Entertainment Weekly writer Frank Lovece official site: Web Exclusives — Bob Kane interview http://franklovece.com/webexclusives.html (1994-05-17)

Books, Way

“He thought a photograph was nothing; that he should blend into the surroundings and become invisible, the better to work and capture –as he said natural light. One shouldn’t even hear the click of Rolleiflex. He would have liked to conceal his camera. The death of his friend Robert Capa could in fact be explained, as he saw it, by this desire, the giddiness of blending into the surrounding once and for all.”

Patrick Modiano (1945) French writer

Suspended Sentences (1993)

Death, Nature, Light

“Ultimately, we all become photographs.”

Varadaraja V. Raman (1932) American physicist

REFLECTIONS ON MY MORTALITY
Truth and Tension in Science and Religion

“I was thinking in the cab on the way here that when I did press for the original production it felt like this was what I’ve always dreamt of — to be talking about myself, and about a play that I’ve written, and to be photographed. It was what I wanted. Now it’s just part of the job.”

Patrick Marber (1964) English comedian, actor and screenwriter

Interview in Jewish Chronicle, 26 September 2007 http://thejc.com/home.aspx?AId55759&ATypeId1&searchtrue2&srchstrpatrick%20marber&srchtxt1&srchhead1&srchauthor1&srchsandp1&scsrch0

Way, Thinking, Parting

“I remember the first time I saw a photograph of Lenda Murray in a magazine. I was in complete awe, I cut out that picture and placed it on my refrigerator and, from that point on, my goal was to develop a physique like hers.”

Iris Kyle (1974) American bodybuilder

2008-04-08
Iris Kyle, Ms. Olympia
IFBBPRO.com
Internet
http://www.ifbbpro.com/features/iris-kyle-ms-olympia/
Sourced quotes, 2008

Time

“He could never decide whether to furgle them or photograph them, for he had found it impossible to do both simultaneously.”

Joseph Heller book Catch-22

Source: Catch-22 (1961), pp.53-54. Dell 1962 edition. (First use of "furgle" in the United States.)

“There's often a lot of stupid ideas like "you all dress as fruits and pretend you're selling underpants" or "we'll put you on a bed of nails and drive a truck over the top and photograph you" for the cover.”

Dave Matthews (1967) American singer-songwriter, musician and actor

Q&A: The Dave Matthews Band, interview by Richard Deitsch on CNN.com http://sportsillustrated.cnn.com/2005/writers/richard_deitsch/07/21/media.circus/index.html

Stupidity, Idea

“[Doc Dubois] had been focusing all of his attention in the other direction, on Peach Pit and its iron-rich “children,” PP1, PP2, and PP3, nailing down their exact orbital parameters, taking high-res photographs.
PP3 was especially interesting. It was a congealed glob of mostly iron, similar in composition to Amalthea. It was some fifty kilometers in diameter. And it had a deep cleft on one side, comparable in size to the Grand Canyon, apparently formed by a collision that had rent its outer skin while it was partly congealed. Doob had begun calling PP3 Cleft.”

Neal Stephenson book Seveneves

"Day 700"
Seveneves (2015), Part Two

Children

“Nobody at Magnum decides for the other what he should do and everyone is free to tell someone else: “Well, what about this story? I don’t like it for this and that reason — because of this picture.” It is extremely fruitful to have somebody to talk to as an equal. This give and take is a most profitable thing because we keep learning from each other. I keep learning from the younger members just as I learned from Bob [Robert] Capa and Chim [David Seymour] how to make picture stories. Cornell Capa, for instance, has a very keen journalistic sense; and as for the other photographer, each makes his own contribution. Everybody in Magnum has full freedom; there’s no doctrine, there is no school, but there is something that unites all of us very strongly — I can’t define it; it may be a certain feeling of freedom and a respect for reality.”

Henri Cartier-Bresson (1908–2004) French photographer

Source: Henri Cartier-Bresson: Interviews and Conversations, 1951-1998, Conversation. Interview with Byron Dobell (1957), pp. 34-35

School, Feeling, Reality, Sense

“He stood with his back angled to the wall. To an indifferent observer he was simply in idle conversation, but it wasn't like that at all. This was an instinctive gesture of survival, being in constant readiness for an attack. His head didn't turn and his eyes didn't seem to move, but I knew he saw us. I could feel the hackles on the back of my neck stiffening and I knew he felt the same way.
Dog was meeting dog. Nobody knew it but the dogs and they weren't telling.
He was bigger than I thought. The suggestion of power I had seen in his photographs was for real. When he moved it was with the ponderous grace of some jungle animal, dangerously deceptive, because he could move a lot faster if he had to.
When we were ten feet away he pretended to see us for the first time and a wave of charm washed the cautious expression from his face and he stepped out to greet Dulcie with outstretched hand.
But it wasn't her he was seeing. It was me he was watching. I was one of his own kind. I couldn't be faked out and wasn't leashed by the proprieties of society. I could lash out and kill as fast as he could and of all the people in the room, I was the potential threat. I knew what he felt because I felt the same way myself.”

Mickey Spillane book The Body Lovers

The Body Lovers (1967)

People, Dogs, Way, Feeling

“Well, it's just a sense of personal satisfaction. Just like taking a good photograph or painting a picture or playing a good golf game or something, it's the thing in itself that justifies it.”

William H. Rehnquist (1924–2005) Chief Justice of the United States

On writing. Booknotes http://www.booknotes.org/Transcript/index_print.asp?ProgramID=1107 television interview (July 5, 1992)

Game, Sense, Painting, Personality

“I am secretly a costume drama queen. Oo, I love me some Merchant Ivory films! I do! If there is a petticoat and Helena Bonham Carter, already I can feel the tears well up in my eyes. I love me some period films! And I know that I will never be in them. I will never be in any of these movies, unless I am laying down on my side smoking some opium. And I get offered movie roles all the time, but I say, "No! No! I don't want to play a manicurist. I don't want to play a really pissed-off liquor store owner. I don't want to go nowhere with a chicken under my arm. I don't want to play an exceptionally good student, I do not want to get off a tour bus and take numerous photographs, I do not ever want to utter the phrase, 'Welcome to Japan, Mr. Bond'! I don't want to write down all my memoirs about being a geisha!"”

Margaret Cho (1968) American stand-up comedian

What it is, is that I cannot run up a wall!!
From Her Tours and CDs, Revolution Tour

Love, Feeling, Tear, Time

“That's what I want to do with my life. I would love to be a photographer, I want to come to London to study. I hear there are some great schools here so I would love to do that.”

Miley Cyrus (1992) American actor and singer-songwriter

TV Guide http://www.tvguide.com/News/Miley-Cyrus-Leibovitz-1000409.aspx (December 2, 2008)

Love, Life, School, Study

“The Surface Stations site has been up two days now, and I’m getting hundreds of registrations across the country from people wanting to get involved in the grass roots effort to photograph, measure, catalog and contribute to the database of weather stations. I’m getting inquires from Congress, Policy think tanks, and bloggers worldwide… I’ve been invited to submit a research paper, and I’m having a lot of fun too. Now I know why I lost the school board election, it was to give me time to do this. Everything happens for a reason.”

Anthony Watts (1958) American television meteorologist

My summer project – a national weather station audit http://wattsupwiththat.com/2007/06/06/my-summer-project-a-national-weather-station-audit/, wattsupwiththat.com, June 6 2007. Other

People, School, Thinking, Effort

“The chief characteristic of the pin-hole photograph is that we get a general suppression of focus in all parts the picture is nowhere quite sharp.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Pin-hole as a substitute for the lens, p. 60

Parting

“Fred taught me a step because I said I can't let this experience be over without my learning something. He taught me the most wonderful Fred Astaire-like step, with an umbrella. It was a complete throwaway; it was almost invisible. It was in the way he walked. As he moved along, he bounced the umbrella on the floor to the beat and then he grabbed it. It was effortless and invisible. As a matter of fact, a few years later I was photographing Gene Kelly and told him that Fred Astaire had taught me this trick with an umbrella. And Kelly said, "Oh I'll teach you one," and he did, and the two tricks with the umbrella in some way define the difference between Fred Astaire and Gene Kelly, and, in my view, demonstrate who is the greater of the two artists. With Gene Kelly, he threw the umbrella way up into the air, and then he moved to catch it, very slowly, grabbing it behind his back. It was a big, grandstand play, about nothing.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Richard Avedon in Silverman, Stephen M. Dancing on the Ceiling. Knopf, 1996. ISBN 0679414126.

Way, Learning

“Should you be a teenager blessed with uncommon good looks, document this state of affairs by the taking of photographs. It is the only way anyone will ever believe you in years to come.”

Fran Lebowitz book Social Studies

"Tips for Teens".
Social Studies (1981)

Way

“Forty-two. His age had astounded him for years, and each time that he had sat so astounded, trying to figure out what had become of the young, slim man in his twenties, a whole additional year slipped by and had to be recorded, a continually growing sum which he could not reconcile with his self-image. He still saw himself, in his mind's eye, as youthful, and when he caught sight of himself in photographs he usually collapsed … Somebody took my actual physical presence away and substituted this, he had thought from time to time. Oh well, so it went.”

Philip K. Dick book A Maze of Death

A Maze of Death (1970)

Youth, Age, Time

“I wanted to be a movie star. But movie stars are not what they used to be. When I was a kid, I thought movie stars were women and men who were in these great films that we still look at now… And people my age don't even know who those people are. I can't even have a conversation with most people of my generation about that, because they'd be like, "Okay, she's a freak…" And the worst part is, in terms of what people see of me, I have become this girl who just loves to be photographed, doesn't know how to focus, doesn't know how to work on set, just loves the attention, knows how to go out at night, knows how to party. And you know what? I was 20 years old. I never went to college. And I lived maybe six months out of my life like that, doing something wrong, and then I stopped. God forbid I should have ever learned my lesson. But at this point it's so hard for people to even believe that there was a lesson to be learned at all, because they just think I'm wrong. All these people think I'm never going to be right, because it's more interesting to fabricate this other girl. Who wants to read a tabloid story about a girl who is doing well?”

Lindsay Lohan (1986) American actress and pop singer

Interview interview (2009)

Love, Life, Women, Men

“I often wished during those years that I could be a lyricist with a camera. […] I took great delight in [Edward Weston's] and many other photographers’ work. I envied them the freedom to photograph a landscape apparently without concern for the implications of its possession.”

David Goldblatt (1930–2018) South African photographer

In an interview with Okwui Enwezor, as quoted in "The Camera Is Not a Machine Gun" http://designobserver.com/article.php?id=10557, Fred Ritchin, 1998

Freedom, Envy

“Hi, how are you today? I'm Tony, I'm going to be your server. I've got some very exciting specials to tell you folks about right here. We've got our deep-pan re-re-fried chocolate ice cream pizza, which comes with a complementary pacemaker. If you're watching your weight you might want to try our No Hope Protein Salad, absolutely delicious. Philippe, our maitre d', will dig out some photographs of you looking kind of tubby, you know, on the Internet, and then we all kind of point and laugh at you and just sort of rub a single chickpea on your lip until you cry. Would you like some water?”

Dylan Moran (1971) Irish actor and comedian

During a skit before a commercial break on BBC America Comedy Live Presents Dylan Moran (2005).
Other

Hope, Water, Cry

“I hate being the subject of photographs.”

Richard Griffiths (1947–2013) British actor

Observer interview (2005)

Hate

“I hope many aspiring photographers will be inspired by what I do and join the industry. It makes me proud to see my students doing well in this profession and trying to give us the healthy competition we need.”

Prito Reza (1984) Photographer

Hope

“Photographers are failed painters.”

Paul Theroux (1941) American travel writer and novelist

Picture Palace (1978)

“I don't think it's a good attitude in your life to feel that you have to be rich to have self-esteem. You know, I saw a billboard in New York I wish I had photographed. It was for the TNN network. It said three words against a patriotic background of red, white and blue — BIGGER, YOUNGER, RICHER. Now, I find that fascinating: 'Bigger, younger, richer.' This whole idea of being wealthy has gone too far. I never ride in a limousine, you know. I feel gross if I get in a limousine. One good thing about the sixties was it sort of was the opposite back then. You looked silly trying to appear rich.”

Tom Petty (1950–2017) American musician

Rolling Stone interview (2002)

Life, Feeling, Idea, Thinking

“If I am asked about the photographer’s role in our times, the power of the image and so on, I do not want to launch into explanations. I only know that people who know how to look are as rare as those who know how to listen.”

Henri Cartier-Bresson (1908–2004) French photographer

Source: Henri Cartier-Bresson: Interviews and Conversations, 1951-1998, To Seize Life: Interview with Yvonne Baby (1961), p. 45

People, Time

“As actors, we need public relations to campaign for our next possible role, and any media promoting our work seems positive in nature; but whether in theater or on a film set, a bad unprofessional photograph at the wrong angle may not be as flattering to some actors, and may be considered a harmful exposure.”

Carson Grant (1950) American actor

Ernest Dempsey, "Camera Shy?", Digital Journal: Arts, Jan 10, 2011, p. 1
Pointing to the negative publicity factor with unsolicited photographs, article printed in Digital Journal 2011.

Nature

“Photographers learn to interpret photographs in that technical way because they want to understand and use that ‘language’ themselves (just as musicians learn a more technical musical language than the layman needs). Social scientists who want to work with visual materials will have to learn to approach them in this more studious and time-consuming way”

Howard S. Becker (1928) American sociologist

Becker (1978) cited in: Peter Hamilton (2006) Visual Research Methods'. Volume 1. p. 214.

Music, Way, Understanding, Learning

“The computer makes it posible to create a central information centre of all human achievements; and for any individual, from the comfort of his own home, to interrogate that information. For example, you would like to see a picture of the tallest horse? Then before your last finger clicks the last button that photograph will be up on your screen, in your own home.”

Owain Owain (1929–1993) Welsh novelist, short story writer and poet

Home, Horse

“My position on pornography is quite simple. You can argue about Penthouse or Playboy or things of that ilk. But child pornography, a picture of a child engaged in a sexual act, is a photograph of a crime and you cannot argue about that. It is, per se, illegal, illicit and immoral. It is unfortunate that my work is taken up by people with whom I am not allied.”

Andrew Vachss (1942) American writer and lawyer

1988 interview with Andrew Vachss, published in the January '89 issue of The Face

People

“Films are even stranger, for what we are seeing are not disguised people but photographs of disguised people, and yet we believe them while the film is being shown.”

Jorge Luis Borges (1899–1986) Argentine short-story writer, essayist, poet and translator, and a key figure in Spanish language literature

Comparing film and stage theatre in "The Divine Comedy" (1977)

People

“The faded photographs
The frames of broken glass
The shattered memories
Time will soon erase all these souvenirs
Falls from a thousand tears
But when I wake up you are never there.”

Anastacia (1968) American singer-songwriter

Pieces of a Dream
Pieces of a Dream (2005)

Tear, Memory, Time

“Let me be unambiguous. I prefer not to be photographed.”

Thomas Pynchon (1937) American novelist

Phone call to CNN as reported in a CNN article (5 June 1997) http://cgi.cnn.com/US/9706/05/pynchon/

“One of the techniques that I use to imitate psychic phenomena is photographic memory.”

Derren Brown (1971) British illusionist

TV Series and Specials (Includes DVDs), Mind Control (1999–2000) or Inside Your Mind on DVD

Memory

“I love going out and it is a bit sad when the photographers stop asking you for your picture.”

Alice Evans (1971) British actress

"Meet La Belle Anglaise" By Anna Pursglove Evening Standard, 15 December 2000.

Love, Sadness

“Lewis Carroll is somebody who wore different hats. He was a clergyman, a mathematician, a teacher. He wrote serious books, and amazing children's books. He was a photographer. So like most people, he was many people in one skin. Creatively, he made a greater impact than almost any other Victorian, and yet we know next to nothing about him, we just fall back on the old cliché.”

Gyles Brandreth (1948) British writer, broadcaster and former Member of Parliament

Interview The Scotsman, 2010

Children, People, Books, Teachers

“Atmosphere is the medium through which we see all things. In order, therefore, to see them in their true value on a photograph, as we do in Nature, atmosphere must be there. Atmosphere softens all lines; it graduates the transition from light to shade; it is essential to the reproduction of the sense of distance. That dimness of outline which is characteristic for distant objects is due to atmosphere. Now, what atmosphere is to Nature, tone is to a picture.”

Alfred Stieglitz (1864–1946) American photographer

Source: 'A Plea for Art Photography in America', Alfred Stieglitz, in 'Photographic Mosaics,' Vol 28, 1892: About Pictorialism.

Nature, Sense, Light, Distant

“A photograph can express silence.”

Patrick Modiano (1945) French writer

Suspended Sentences (1993)

Silence

“A photographer's best work is, alas, generally done for himself.”

John Szarkowski (1925–2007) American curator

Looking at Photographs: 100 Pictures from the Collection of The Museum of Modern Art (1999)

“The outdoor and indoor works are complementary, although I would have to say that nature, the landscape, the walking, is at the heart of my work and informs the indoor works. But the art world is usually received 'indoors' and I do have a desire to present real work in public time and space, as opposed to photos, maps and texts, which are by definition 'second hand' works. A sculpture feeds the senses at a place, whereas a photograph or text work (from another place) feeds the imagination. For me, these different forms of my work represent freedom and richness – it's not possible to say 'everything' in one way.”

Richard Long (1945) artist

Richard Long, ‎British Council (1994). Richard Long: São Paulo Bienal 1994.
1990s

World, Art, Way, Imagination

“For years Pershing Square has been one of the three or four places in America famous to homosexuals, famous not for its posh, the chic is round-heeled here, but because it is one of the avatars of good old masturbatory sex, dirty with the crusted sugars of smut, dirty rooming houses around the corner where the score is made, dirty book and photograph stores down the street.”

Norman Mailer (1923–2007) American novelist, journalist, essayist, playwright, film maker, actor and political candidate

Superman Comes to the Supermarket (1960)

Books, Sex, Housing

“I was born to be an editor, I always edit everything. I edit my room at least once a week. Hotels are made for me. I can change a hotel room so thoroughly that even its proprietor doesn't recognize it… I edit people's clothes, dressing them infallibly in the right lines… I change everyone's coiffure — except those that please me — and these I gaze at with such satisfaction that I become suspect, I edit people's tones of voice, their laughter, their words. I change their gestures, their photographs. I change the books I read, the music I hear… It's this incessant, unavoidable observation, this need to distinguish and impose, that has made me an editor. I can't make things. I can only revise what has been made.”

Margaret Caroline Anderson (1886–1973) American magazine editor

My Thirty Years' War: An Autobiography (Knopf, 1930, 274 pages), p. 58.

People, Books, Music, Laughter

“I make sure that they photograph everything they do. And they have to have a portfolio to graduate. You know, there’s no formula for success out there, but what works is: learn how [to photograph], photograph everything you do and you put those photographs in front of people that can help hire you. That works.”

Tom Savini (1946) American actor, stuntman, director and makeup artist

People, Learning, Success, Help

“I didn’t photograph people as an example of New York urban something or other. I don’t have a philosophy. I have a camera. I look into the camera and take pictures. My photographs are the tiniest part of what I see that could be photographed. They are fragments of endless possibilities.”

Saul Leiter (1923–2013) American photographer

Saul Leiter: The Quiet Iconoclast (2009)

People, Parting

“The scale of light can be described by numbers — called the frequency — and as the numbers get higher, the light goes from red to blue to ultraviolet. We can't see ultraviolet light, but it can affect photographic plates. It's still light — only the number is different.”

Richard Feynman book QED: The Strange Theory of Light and Matter

Source: QED: The Strange Theory of Light and Matter (1985), p. 13

Light

“And if it made it one trip, it wouldn’t make the other. Then somebody stole half of it. I found out about that 20 years later, when someone sent me a photograph and said, ‘Does this look familiar to you?’ I nearly fainted.”

Suzanne Ciani (1946) Italian American composer and musician

"INTERVIEW: Suzanne Ciani...," (2014)

“Thus it is with all pictures, there are many layers, and with good reason an analysis nearly always deals with the last [layer]. The last layer in a superficial sense. But how then can one talk of what one cannot see, the overpainted or wiped-off layers, how to go about for example, photographs that are like slates with layers which no longer exist. The answer is that they exists nevertheless, taken up into the visible layer by a rubbing-off, but the problem, on the whole, is how one deals with the visible layer. The angle-sure, viewpoint seeking and in the worse sense 'analytic' intercourse with the picture.”

Per Kirkeby (1938–2018) Danish artist

1965 - 1995, Bravura', Per Kirkeby, (1982)

Problem, Sense

“In Vienna an enterprising firm supplied atrocity photographs with blanks for the headings so that they might be used for propaganda purposes by either side.”

Arthur Ponsonby (1871–1946) British Liberal and later Labour politician and pacifist

Falsehood in Wartime (1928), Introduction

“Cher had just been to see Sunset Boulevard. She hunted me down the next day through management to ask me out to dinner. I wouldn't break my first date with Scott which felt like the chance of a lifetime, so after a pause she said, "Fine, bring him." I drove my car, Scott rode his bike. Scott parked his bike down the street. And we all met up, and we had dinner with Cher, and we had a fab time. At the end of the evening she said to me: "Walk me to my car, you'll love it." As we're walking to the car arm in arm, the photographers just come out of… the bushes, you name it. And we walk to the car and she leanes over and she goes "When I get in the car, give me a kiss." And I'm like "Fine." – What gay man wouldn't want to give Cher a kiss? So we kiss and they catch it just at that moment. The next day in the tabloids I was her new toyboy. But little did they know that the boy with the bicycle who walked out after us went and unhooked his bike, I put her in the car, went off, got my Jag, opened the trunk, put his bike in the trunk and I took him home. That would've been the story! —And he stayed. For 18 years now.”

John Barrowman (1967) Scottish-American actor, singer, dancer, musical theatre performer, writer and television personality

Fern Britton Meets John Barrowman BBC 2012

Love, Cars, Home, Boy

“Not even the foulest atrocities of Adolf Hitler ever shocked me so badly as these Abu Ghraib photographs did.”

Hunter S. Thompson (1937–2005) American journalist and author

"Let's Go to the Olympics!" (18 May 2004); this was afterwards edited at ESPN to read "These horrifying digital snapshots of the American dream in action on foreign soil are worse than anything even I could have expected." Drudge Report (24 May 2004) http://www.drudgereportarchives.com/data/2004/05/24/20040524_231202_flash3.htm 2000s

“So successful has been the camera's role in beautifying the world that photographs, rather than the world, have become the standard of the beautiful.”

Susan Sontag book On Photography

"The Heroism of Vision", p. 85
On Photography (1977)

World, Beauty, Success

“… what the photographer has to be urged, persuaded and argued with, to do, are often matters which the artist never needs to think about, because it would be unnatural to him not to act in unconscious obedience thereto.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Part II : Practical Pictorial Photography, Fidelity to nature and justifiable untruth, p. 3

Thinking

“Art is no longer a visual sensation that we gather, like a photograph, as it were, of nature. No, it is a creation of our spirit, for which nature is only the occasion.”

Maurice Denis (1870–1943) French painter

Quote of Denis, 1909: from Bouillon 2006, pp. 17-18; as cited on Wikipedia: Maurice Denis https://en.wikipedia.org/wiki/Maurice_Denis - reference [9] 1890 - 1920

Art, Nature