Photographs Quotes

What do you say to your sister who poses in the nude? It's not like you are really itching to see photographs of your sister naked. I mean, it's just something that is not too exciting.

I had already done a lot of research for Rough Riders, keeping notebooks and old photographs. Some of the books were antiques for that time period, with the covers falling off.

There's a discipline. When you take someone's portrait, you don't have to take 50 photographs, just find that one so that when you release the shutter, that's the image that you took.

The photographs were never about me. They were always about the people who were laying their lives on the line for basic civil rights. I look back and I can't believe there was ever a time in this country when ANY citizen could not vote. The times were appalling.

As photographs give people an imaginary possession of a past that is unreal, they also help people to take possession of space in which they are insecure.

It is, alas, chiefly the evil emotions that are able to leave their photographs on surrounding scenes and objects and whoever heard of a place haunted by a noble deed, or of beautiful and lovely ghosts revisiting the glimpses of the moon?

So I went to Chicago in 1940, I think, '41, and the photographs that I made there, aside from fashion, were things that I was trying to express in a social conscious way.

Everyone has seen photographs of Mexicans wearing those big sombreros. When you come to Mexico, the astonishing thing is, nobody wears these hats at all.

I ask people why they have deer heads on their walls. They always say because it's such a beautiful animal. There you go. I think my mother is attractive, but I have photographs of her.

Swedes are a really humble and shy people in many ways, but I think it's pretty much the same as in the U.S. Little girls want to take photographs with me at lunch.

All photographs are accurate. None of them is the truth.

I'm not photographing the model in the classic sense; the model is playing a part in my photographs. It's more like theater. I always work with models I know, and I let them participate in deciding how to act their part.

I had always been kind of obsessed with making a home of my own and was always drawing rooms that I wanted to live in, down to pictures on the wall and the faces that would be in the photographs, and how the couches would be situated.

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.

I was so impressed with the work we were doing and I was very involved ideologically in photography - that I arranged an exhibition at the College Art Association. The first exhibition I picked the photographs and so on and we had an exhibition in New York.

I don't use composers. I research music the way I research the photographs or the facts in my scripts.

I did find a wonderful girl last year, but the photographs that we did were more about motorcars.

Ever since the 1860s when photographers travelled the American West and brought photographs of scenic wonders back to the people on the East Coast of America we have had a North American tradition of landscape photography used for the environment.

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.

I always say that I don't want to be sentimental, that the photographs shouldn't be sentimental, and yet, I am conscious of my sentimentality.

I never question what to do, it tells me what to do. The photographs make themselves with my help.

I've looked at photographs of myself during concerts and it sometimes looks as if I'm in a fencing move, with a guitar in my hands instead of a sword.

Our photographs are filthier and our stories are more disgusting. We make no effort to be artistic.

I'm exchanging molecules every 30 days with the natural world and in a spiritual sense I know I am a part of it and take my photographs from that emotional feeling within me, rather than from an emotional distance as a spectator.

I should be getting photographs of me with my arm around these people like restaurant owners do, because eventually I am going to have to prove to my kids that once I was an actor!

The planets are never the same twice, they're always different, so they could compare the markings I had drawn with their current photographs and they knew that I was drawing what I was really seeing and it wasn't copied from somewhere.

Not everybody trusts paintings but people believe photographs.

There are biographies, I looked at a lot of photographs of him, I heard his voice over and over and over again. You get in there and get to know the man by all of those pieces of information.

Some time ago, we went to Asia and took a camera along, and I began to do what I'd done even years ago doing people. I couldn't get interested in it. And I did hundreds of photographs of details of the monuments as sculpture.

I can often tell when drawings are done from photographs, because you can tell what they miss out, what the camera misses out: usually weight and volume - there's a flatness to them.