Quotes about photo
photography art records
Art does not in fact prove anything. What it does do is record one of those brief times, such as we each have and then each forget, when we are allowed to understand that the Creation is whole. Robert Adams
photography silence compelling
Among the most compelling truths in some of the early photographs is their implication of silence. Robert Adams
photography space littles
Little wonder that we. . .find the old pictures of openness - pictures usually without any blur, and made by what seems a ritual of patience - wonderful. They restore to us knowledge of a place we seek but lose in the rush of our search. Though to enjoy even the pictures, much less the space itself, requires that we be still longer than is our custom. Robert Adams
photography firsts photographer
Timothy O'Sullivan was, it seems to me, the greatest of the photographers because he understood nature first as architecture. Robert Adams
photography art discovery
. . .art is a discovery of harmony, a vision of disparities reconciled, or shape beneath confusion. Robert Adams
photography running mistake
Nature photography... that acknowledges what is wrong, is admittedly sometimes hard to bear - it has to encompass our mistakes. Yet in the long run, it is important; in order to endure our age of apocalypse, we have to be reconciled not only to avalanche and hurricane, but to ourselves. Robert Adams
photography invention instance
Invention in photography is so laborious as to be in most instances perverse. Robert Adams
photographer tension
The photographer hopes, in brief, to discover a tension so exact that it is peace. Robert Adams
photography faithful records
...I felt that photography ought to start with and remain faithful to the appearance of the world, and in so doing record contradictions. The greatest pictures would then... find wholeness in the torn world. Robert Adams
photography thinking artist
Part of the reason that these attempts at explanation fail, I think, is that photographers, like all artists, choose their medium because it allows them the most fully truthful expression of their vision... as Robert Frost told a person who asked him what one of his poems meant, 'You want me to say it worse?' Robert Adams
photography reality views
... If we consider the difference between William Henry Jackson packing in his camera by mule, and the person stepping for a moment from his car to take a picture with his Instamatic, it becomes clear how some of our space has vanished; if the time it takes to cross space is a way by which we define it, then to arrive at a view of space 'in no time' is to have denied its reality. Robert Adams
photography thinking landscape
We rely, I think, on landscape photography to make intelligible to us what we already know. Robert Adams
photography art landscape
There is always a subjective aspect in landscape art, something in the picture that tells us as much about who is behind the camera as about what is in front of it. Robert Adams
photography quality alive
If I like many photographers, and I do, I account for this by noting a quality they share - animation. They may or may not make a living by photography, but they are alive by it. Robert Adams
photography jobs views
The job of the photographer, in my view, is not to catalogue indisputable fact but to try to be coherent about intuition and hope. This is not to say that he is unconcerned with the truth. Robert Adams
photography taken thinking
Landscape pictures can offer us, I think, three verities: geography, autobiography, and metaphor. Geography is, if taken alone, sometimes boring, autobiography is frequently trivial, and metaphor can be dubious. But taken together, as in the best work of people like Alfred Stieglitz and Edward Weston, the three kinds of information strengthen each other and reinforce what we all work to keep intact - the affection for life. Robert Adams
photography achievement doe
When photographers get beyond copying the achievements of others, or just repeating their own accidental first successes, they learn that they do not know where in the world they will find pictures. Nobody does. Each photograph that works is a revelation to its supposed creator. Robert Adams
photography commitment rocks
The thing that keeps you scrambling over the rocks, risking snakes, and swatting at the flies is the view. It is only your enjoyment of and commitment to what you see, not to what you rationally understand, that balances the otherwise absurd investment of labor. Robert Adams
photography community may
Your own photography is never enough. Every photographer who has lasted has depended on other peoples pictures too - photographs that may be public or private, serious or funny, but that carry with them a reminder of community. Robert Adams
photography needs cameras
I just got this new camera. It's very advanced - you don't even need it. Steven Wright
photography paint i-can
Maybe I'll paint, do photography, just something else. I can see that. Steven Soderbergh
photography looks unions
In the Soviet Union it was illegal to take a photograph of a train station. Look what happened to them. They tried to classify everything. Tom Clancy
photography believe being-true
I believe that this whole question of some photography being true and some untrue is a non-question. Photography is not objective; it never was objective. Tibor Kalman
photography eras rays
A new era in the physiological investigation of linguistic sounds was opened up by X-ray photography. Roman Jakobson
photography artist practice
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. Roland Barthes
photography winter secret
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. Roland Barthes
photography class two
The Photograph belongs to that class of laminated objects whose two leaves cannot be separated without destroying them both: the windowpane and the landscape, and why not: Good and Evil, desire and its object: dualities we can conceive but not perceive... Whatever it grants to vision and whatever its manner, a photograph is always invisible: it is not it that we see. Roland Barthes
photography art past
The realists do not take the photograph for a 'copy' of reality, but for an emanation of past reality, a magic, not an art. Roland Barthes
photography social-values age
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. Roland Barthes
photography men vision
I want a History of Looking. For the Photograph is the advent of myself as other: a cunning dissociation of consciousness from identity. Even odder: it was before Photography that men had the most to say about the vision of the double. Heautoscopy was compared with an hallucinosis; for centuries this was a great mythic theme. Roland Barthes
photography theme wanted
As Spectator I wanted to explore photography not as a question (a theme) but as a wound. Roland Barthes
photography delight biographies
[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. Roland Barthes
photography average negative
Pay no heed to the average photographer's remarks upon "flat" and "weak" negatives. Probably he is flat, weak, stale, and unprofitable; your negative may be first-rate, and probably is if he does not approve of it. Ralph Waldo Emerson