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.— Ansel Adams
Pleasurable Photography And Film quotations
Which of my photographs is my favorite? The one I'm going to take tomorrow.
The best images are the ones that retain their strength and impact over the years, regardless of the number of times they are viewed.
For me, the camera is a sketch book, an instrument of intuition and spontaneity.
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.
The important thing is not the camera but the eye.
Ultimately photography is about who you are.
It's the truth in relation to yourself. And seeking truth becomes a habit.
To me if there's an achievement to lighting and photography in a film it's because nothing stands out, it all works as a piece. And you feel that these actors are in this situation and the audience is not thrown by a pretty picture or by bad lighting.
The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion.
All technical refinements discourage me.
Perfect photography, larger screens, hi-fi sound, all make it possible for mediocrities slavishly to reproduce nature; and this reproduction bores me. What interests me is the interpretation of life by an artist. The personality of the film maker interests me more than the copy of an object.
Nothing happens when you sit at home.
I always make it a point to carry a camera with me at all times...I just shoot at what interests me at that moment.
... the reason we think that computer graphics technology has succeeded in faking reality is that we, over the course of the last hundred and fifty years, have come to accept the image of photography and film as reality.
I was drawn to photography as an extension of film, and the beauty of film is that it's a sensuous, fetishistic medium.
I do photography and I studied film at school.
So I've always really enjoyed that and I've got an eye for camera angles I guess. I've never taken that into filming wildlife.
You don't make a photograph just with a camera
A great photograph is a full expression of what one feels...
Any time you talk about the look of the film, it's not just the director and the director of photography. You have to include the costume designer and the production designer.
I find that in the process of making a film you're constantly discovering things that you never even imagined would work at the beginning. Actors come into the film and do things you never even imagined. Production designers come in, the director of photography lights it in a way that you never imagined. So, it's always evolving, always exciting.
I did all the stuff that people do - film, performance, photography, pictures and words, words and pictures. In retrospect, I was trying to find some way to put things - meaning images and forms - together that highlighted some idea of what was underneath the surface of an image, what determined how something was seen.
I took courses at USC in film editing and art direction and photography when I was still in high school.
I am trying to make some kind of connection to what is going on in the world, to make some sort of contact. And I use the instruments that our modern world offers, these extraordinary instruments of photography and film and computers.
I regard photography and film simply as new technical means which painters must absolutely make use of, just as from time out of mind they have made use of brush, charcoal and color. It is certain, however, that photography and film must become as evocative for the sensibility as pencil, charcoal and brush. (1927)
And friends of mine that had photography class in high school would develop the film and make prints and I'd take them back to the track and give 'em away or try and sell them. Much to my parents' dismay, I majored in photography in college.
Fifty years after we undertook to make the first synthetic polarizers we find them the essential layer in digital liquid-crystal. And thirty four years after we undertook to make the first instant camera and film, our kind of photography has become ubiquitous.
When I get interested in a new topic I teach a class on it.
There's a graduate seminar I teach in which the students and I try to expand the terminology we use to talk about poetry as well as expand our notion of what makes a poem - we read source texts on architecture, dance, photography, film and the graphic novel.
By temperament I am not unduly excitable and certainly not trigger-happy.
I think twice before I shoot and very often do not shoot at all. By professional standards I do not waste a lot of film; but by the standards of many of my colleagues I probably miss quite a few of my opportunities. Still, the things I am after are not in a hurry as a rule.
... photography, like all camera-made images such as film and video, effaces the marks of its making (and maker) at the click of a shutter. A photograph appears to be self-generated - as though it had created itself.
The dominant problem of pictorial art since the nineteen-fifties is photography, and, by extension, film and video. The basilisk eye of the camera has withered the pride of handworked mediums. Painting survives on a case-by-case basis, its successes amounting to special exemptions from a verdict of history.
Since the recording process is instantaneous, and the nature of the image such that it cannot survive corrective handwork, it is obvious that the finished print must be created in full before the film is exposed.
I mean, certainly writing, painting, photography, dance, architecture, there is an aspect of almost every art form that is useful and that merges into film in some way.
Just someone trying to shoot in 70mm deserves the nomination, and he[Quentin Tarantino] is shooting interiors, like tight interior shots, for that matter. Obviously [Quentin] is the director and demanding the shots, but all credit for the beauty of that film [Hateful Eight] goes to the director of photography.
I also paint, draw and I'm into film and photography as well, and the same thing applies to all of them. You're presenting this material to the general public and hoping that they're going to 'get' what you're doing. Some don't, some do.
Those involved in the program are interested in how to use photography, videos, the Internet, film, and anything related to communications and transmission of information in the most up-to-date modern ways.
A lot of people want to make films and do photography and things, but I'm quite happy doing what I'm doing.
I think I'm no different to my friends who are doctors or businessmen or architects - we all started watching films of the golden age together. But whether I'm making films or writing poetry or doing photography, it's very much rooted in my sense of unease. And that's really where everything goes back to.