The art of photography is all about directing the attention of the viewer.
I've never made any picture, good or bad, without paying for it in emotional turmoil.
There is a job to be doneto record the truth. I want to wake people up!
The camera relieves us of the burden of memory. It surveys us like God, and it surveys for us. Yet no other god has been so cynical, for the camera records in order to forget.
For me being able to see all different places where I've skied and cherish them, and be able to see them - really see them - is something that I'm passionate about. I'm into photography, so I really enjoy taking photos of all the places that I've gone. I think that's the coolest part about being an Olympic sportsman, I get to travel around and see the world for free, technically. And get to see different cultures, and all the different people that I've met along the way - it's a pretty awesome job.
Photographs deceive time, freezing it on a piece of cardboard where the soul is silent.
Photography's potential as a great image-maker and communicator is really no different from the same potential in the best poetry where familiar, everyday words, placed within a special context, can soar above the intellect and touch subtle reality in a unique way.
And that desire-the strong desire to take pictures-is important. It borders on a need, based on a habit: the habit of seeing. Whether working or not, photographers are looking, seeing, and thinking about what they see, a habit that is both a pleasure and a problem, for we seldom capture in a single photograph the full expression of what we see and feel. It is the hope that we might express ourselves fully-and the evidence that other photographers have done so-that keep us taking pictures.
Photography has a relation to intervention, but photographing is not the same as an intervening.
I often see the materials of photography as being a type of terrain. Emulsions, liquid developers, silver salts, and fixers interact, and I construct a landscape that I need to first explore in my mind's eye if I am to make it manifest as an artful image in silver.
It is the photographer's decision at the two levels of seeing the picture - when it is shot and when it is chosen and printed that determines his personal style.
Life is once. Forever.
I love painting. As far as photography is concerned, I understand nothing.
Actually, I didn't study photography at first. I went to school for painting my first year, poetry my second year, graphic design my third and fourth year, and photography my fifth.
I think photography is a universal language as far as storytelling goes, and I think that's what it's most successful at.
My programme, The Art of Creative Expression, empowers young people with tools to express themselves. We teach photography, art and drama, but it's not just the medium that's important, it's about what you are trying to say.
When gifts are given to me through my camera, I accept them graciously.
. . . a fact about photography: we can look at people's faces in photographs with an intensity and intimacy that in life we normally only reserve for extreme emotional states - for a first look at someone we may sleep with, or a last look at someone we love.
They used to photograph Shirley Temple through gauze. They should photograph me through linoleum.
There are many reasons why photography does not attract the social and cultural attention it deserves. I would add one more which has received scant attention: it does not make a lot of noise. . . . Perhaps photography would be more appreciated if camera shutters fired with the sound of a. 357 Magnum.