18 Quotes By Photographer Michael Kenna

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Enjoy this collection of quotes by photographer Michael Kenna.
“I do have strong convictions and political opinions, but I don’t think it’s necessary to imbue my photographic work with them. I use photography as a vessel for visual material to flow through, to encourage conversation with the viewer. I try to present a catalyst and invite viewers to tell their own stories.” – Michael Kenna
“I find that when one has worked long enough, technical know-how becomes almost irrelevant. In photography, it’s not difficult to reach a technical level where you don’t need to think about the technique any more. I think there is far too much literature and far too much emphasis upon the techniques of photography. The make of camera and type of film we happen to use has little bearing on the results.” – Michael Kenna
“I don’t have any particular method to my madness. When I decide “what” I want to photograph, I choose the appropriate locations. Sometimes I choose “where” I want to photograph, then look for the “what” when I get there! Simple – no magic involved. I have a theory, which seems to work for me, that the best ideas come through thinking about something else! One of my hobbies is long distance running. I find there is something therapeutic and hypnotic in this activity, similar to practicing landscape photography. While thinking about one thing, and being active at the same time, other ideas float in and out. These floating ideas usually turn out to be the catalysts for my future projects.” – Michael Kenna
“I sincerely believe it is normal and healthy to study the work of other artists, and even imitate other’s efforts, as a means to explore one’s personal vision. It has been thus throughout history in all mediums of creative expression. One advances by “standing on the shoulders of giants”. The perspective becomes a lot clearer from such high ground. On my own journey, I have actively tried to see through the eyes of many well known photographers, including but not limited to Atget, Bernhard, Brandt, Callahan, Cartier Bresson, Giacomelli, Misrach, Scheeler, Steiglitz, Sudek, Sugimoto, Weston (Brett) and many others. I have gone to places where they have photographed and have consciously and unconsciously emulated their style and subject matter. Other artists, in many mediums, have greatly helped my own development as a photographer. As small tokens of appreciation, I have often credited those influences openly by including their names in the titles of work. I have done this out of basic courtesy and respect. I do not feel that I have ever stolen from these artists.” – Michael Kenna
“I think style is just the end result of personal experience. It would be problematic for me to photograph in another style. I’m drawn to places and subject matter that have personal connections for me and I photograph in a way that seems right. Where does it all come from, who knows?” – Michael Kenna
“I often think of my work as visual haiku. It is an attempt to evoke and suggest through as few elements as possible rather than to describe with tremendous detail.” – Michael Kenna
“It’s possible to think of photography as an act of editing, a matter of where you put your rectangle pull it out or take it away. Sometimes people ask me about films, cameras and development times in order to find out how to do landscape photography. The first thing I do in landscape photography is go out there and talk to the land – form a relationship, ask permission, it’s not about going out there like some paparazzi with a Leica and snapping a few pictures, before running off to print them.” – Michael Kenna
“The first time, I usually skim off the outer layer and end up with photographs that are fairly obvious. The second time, I have to look a little deeper. The images get more interesting. The third time it is even more challenging and on each subsequent occasion, the images should get stronger, but it takes more effort to get them.” – Michael Kenna
“Getting photographs is not the most important thing. For me it’s the act of photographing. It’s enlightening, therapeutic and satisfying, because the very process forces me to connect with the world. When you make four-hour exposures in the middle of the night, you inevitably slow down and begin to observe and appreciate more what’s going on around you. In our fast-paced, modern world, it’s a luxury to be able to watch the stars move across the sky.” – Michael Kenna
“Life is about turning up. The more you get yourself out there, whether you wake up at 5:00 a.m. to pouring rain or not, the more you’re likely to experience the wonderful happenings that are going on all around you. Sometimes the most interesting visual phenomena occur when you least expect it. Other times, you think you’re getting something amazing and the photographs turn out to be boring and predictable. So I think that’s why, a long time ago, I consciously tried to let go of artist’s angst, and instead just hope for the best and enjoy it. I love the journey as much as the destination. If I wasn’t a photographer, I’d still be a traveler.” – Michael Kenna
“There are many characteristics associated with night photography that make it fascinating. We are used to working with a single light source, the sun, so multiple lights that come from an assortment of directions can be quite surreal, and theatrical. Drama is usually increased with the resulting deep shadows from artificial lights. These shadows can invite us to imagine what is hidden. I particularly like what happens with long exposures, for example, moving clouds produce unique areas of interesting density in the sky, stars and planes produce white lines, rough water transforms into ice or mist, etc. Film can accumulate light and record events that our eyes are incapable of seeing. The aspect of unpredictability inherent with night exposures can also be a good antidote for previsualization…” – Michael Kenna
“When exposures last hours rather than fractions of a second, there is much time for watching. Sometimes it is a basic concern for security but at others it is a more meditational activity. I watch the sky and imagine what patterns the clouds and stars will make on my film. I watch the water, the leaves on the trees, passing cars, changing shadows, smoke from chimneys, whatever is around. Wind, rain, mist, etc., all have effects on the eventual image. We live pretty fast-paced lives so it is a luxury to be able to slow down and better appreciate some of the more subtle effects of nature that we can so easily miss or take for granted.” – Michael Kenna
“Photographing at night can be fascinating because we lose some of the control over what happens in front of the camera. Over a period of time the world changes; rivers flow, planes fly by, clouds pass and the earth’s position relative to the stars is different. This accumulation of time and events, impossible for the human eye to take in, can be recorded on film. For the photographer, real can become surreal, which is exciting. During the day, when most photographs are made, scenes are usually viewed from the vantage-point of a fixed single light source, the sun. At night the light can come from unusual and multiple sources. There can be deep shadows which act as catalysts for our imagination. There is often a sense of drama, a story about to be told, secrets revealed, actors about to enter onto the stage. The night has vast potential for creativity.” – Michael Kenna
“I gravitate towards places where humans have been and are no more, to the edge of man’s influence, where the elements are taking over or covering man’s traces.” – Michael Kenna
“Parks and gardens are the quintessential intimate landscapes. People use them all the time, leaving their energy and memories behind. It’s what’s left behind that I like to photograph.” – Michael Kenna
“In my photographic work I’m generally attracted to places that contain memories, history, atmospheres and stories. I’m interested in the places where people have lived, worked and played. I look for traces of the past, visual fingerprints, evidence of activities – they fire my imagination and connect into my own personal experiences. Using the analogy of the theater, I would say that I like to photograph the empty stage, before or after the performance, even in between acts. I love the atmosphere of anticipation, the feeling in the air that events have happened, or will happen soon…” – Michael Kenna
“Perhaps most intriguing of all is that it is possible to photograph what is impossible for the human eye to see – cumulative time.” – Michael Kenna
“Nothing is ever the same twice because everything is always gone forever, and yet each moment has infinite photographic possibilities.” – Michael Kenna
View 12 Great Photographs By Michael Kenna.
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15 Quotes By Photographer Emmet Gowin

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Enjoy this collection of quotes by photographer Emmet Gowin.
“Photography is a tool for dealing with things everybody knows about but isn’t attending to. My photographs are intended to represent something you don’t see.” – Emmet Gowin
“All important pictures embody something that we do not yet understand.” – Emmet Gowin
“The challenge of photography is to show the thing photographed so that our feelings are awakened and hidden aspects are revealed to us.” – Emmet Gowin
“As a good picture would come, I would never know exactly what I had done. When you did see it, it would strike you as a great surprise – who did that? How did it happen? Being surprised by your own work makes you both less serious and have serious reverence.” – Emmet Gowin
“Of course, this is one of the really important things about art, that you can make more than you can understand at the moment the thing is being made. But the gap between what we recognize inside ourselves – our feelings- and our ability to trust ourselves and to trust exposing ourselves to those ideas, can be great.” – Emmet Gowin
“It might take us a lifetime to find out what it is we need to say. Most of us fall into where our feelings are headed while we’re quite young. But the beauty of all this uncertainty would be that in the process of exhausting all the possibilities, we might actually stumble unconsciously into the recognition of something that’s useful to us, that speaks to a deep need within ourselves. At the same time, I like to think that in order for any of us to really do anything new, we can’t know exactly what it is we are doing.” – Emmet Gowin
“The authentic thing is to follow your heart, your instincts, your emotions. If you located yourself in an idea, your life would be lived very sadly.” – Emmet Gowin
“The picture is like a prayer, an offering, and hopefully an opening through which to seek what we don’t know, or already know and should take seriously.” – Emmet Gowin
“This is the gift of the landscape photograph, that the heart finds a place to stand.” – Emmet Gowin
“I feel that whatever picture an artist makes it is in part a picture of himself — a matter of identity.” – Emmet Gowin
“What’s great is that the picture is already taken before it goes public. It’s in secret. The trust that develops from such a habit engenders risk, and you realize you’re not as vulnerable as you thought. Once you become comfortable with being more truthful about who you are, the easier it is, the prouder you become. That’s the way it unfolded for us.” – Emmet Gowin
“Twentieth-century art has allowed me to see things in a cryptic way. I love the butterfly’s wings, which disappear when folded and when open leave this brilliant, intense pronouncement of nature, ‘Here I am.’” – Emmet Gowin
“I am pessimistic about a picture’s power to be the emissary of just one thing. What I hope is that the picture says, “Here I am, this is what I am like,” and the person seeing the picture says in return, ‘You know a lot but you don’t know half of what I know.’” – Emmet Gowin
“I was going round the world searching for an interesting place, when I realized that the place that I was in was already interesting.” – Emmet Gowin
“I made 10 times as many images as the other students,” he says of the early years. “I destroyed all those negatives except a few. I did it as a reminder that you can’t afford to waste time: take it seriously.” – Emmet Gowin
Read a conversation with Emmet Gowin here.
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10 Quotes By Photographer Eliot Porter

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Enjoy this collection of quotes by Eliot Porter.

“Every photograph that is made whether by one who considers himself a professional, or by the tourist who points his snapshot camera and pushes a button, is a response to the exterior world, to something perceived outside himself by the person who operates the camera.” – Eliot Porter

“You learn to see by practice. It’s just like playing tennis. You get better the more you play. The more you look around at things. The more you see. The more you photograph. The more you realize what can be photographed and what can’t be photographed. You just have to keep doing it.” – Eliot Porter

“Photographs are believed more than words; thus they can be used persuasively to show people who have never taken the trouble to look what is there.” – Eliot Porter

“Photography is a strong tool, a propaganda device, and a weapon for the defense of the environment…and therefore for the fostering of a healthy human race and even very likely for its survival.” – Eliot Porter

“I don’t think it’s necessary to put your feelings about photography in words. I’ve read things that photographers have written for exhibitions and so forth about their subjective feelings about photography and mostly I think it’s disturbing. I think they’re fooling themselves very often. They’re just talking, they’re not saying anything.” – Eliot Porter

“I do not photograph for ulterior purposes. I photograph for the thing itself — for the photograph — without consideration of how it may be used.” – Eliot Porter

“You learn to see by practice. It’s just like playing tennis, you get better the more you play. The more you look around at things, the more you see. The more you photograph, the more you realize what can be photographed and what can’t be photographed. You just have to keep doing it.” – Eliot Porter

“Sometimes you can tell a large story with a tiny subject.” – Eliot Porter

“But before all else a work of art is the creation of love. Love for the subject first and for the medium second. Love is the fundamental necessity underlying the need to create, underlying the emotion that gives it form, and from which grows the unfinished product that is presented to the world. Love is the general criterion by which the rare photograph is judged. It must contain it to be not less than the best of which the photographer is capable.” – Eliot Porter

“My emotions, instincts, and interests are all with nature.” – Eliot Porter

“Much is missed if we have eyes only for the bright colors. Nature should be viewed without distinction… She makes no choice herself; everything that happens has equal significance. Nothing can be dispensed with. This is a common mistake that many people make: They think that half of nature can be destroyed — the uncomfortable half — while still retaining the acceptable and the pleasing side.” – Eliot Porter

View 1 2 Great Photographs By Eliot Porter.
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12 Quotes By Photographer John Pfahl

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Enjoy this collection of quotes by photographer John Pfahl.
“People think the camera steals their soul. Places, I am convinced, are affected in the opposite direction. The more they are photographed (or drawn and painted) the more soul they seem to accumulate.” – John Pfahl
“It would have been possible to structure my photographs in such a way that no indicators of the present were discernible. However, I wanted to incorporate into the project as a whole the jostling of time-frames I would feel as I set up my tripod on various rocky promontories.” – John Pfahl
“I often wondered why I was attracted to certain landscapes and not others and why my photographs (and depictions by other artists) looked the way they did, Archetypes imprinted on my mind started me on a search …” – John Pfahl
“Somehow I felt that if Fox Talbot had had more time and more drawing talent, he would have filled in the interval between his two drawings and made a complete panorama. Now, 163 years later, I was able to use his great invention to elaborate on his youthful dream of capturing and fixing the fleeting image. In doing so, I may also have added another little bit to the soul of this extraordinary place.” – John Pfahl
“I have been using the art of photography to research the ways in which the pictorial strategies of the Nineteenth Century color the way in which the American landscape is apprehended by today’s viewers.” – John Pfahl
“Photography, of course, is the perfect medium for the investigation. It can reveal the truth of present day specifics and particularities, while at the same time, by conscious choice of lighting and pictorial structure, suggest the aesthetic legacy of the past.” – John Pfahl
“It is not without trepidation that I have appropriated the codes of “the Sublime” and “the Picturesque” in my work. After all, serious photographers have spent most of this century trying to expunge such extravagances from their art. The tradition lives on, mostly in calendars and picture postcards. I was challenged to rework and revitalize that which had been so roundly denigrated.” – John Pfahl
“While making my “picture window” photographs, I came to think that every room was like a gigantic camera forever pointed at the same view.”” – John Pfahl
“Strangers with puzzled looks were amazingly cooperative in letting me into their rooms with my photographic gear. They let me take down the curtains, wash the windows, and rearrange the furniture. Often, too, they expressed their desire to share their view with others, as if it were a non-depletable treasure.
I liked the idea that my photographic vantage points were not solely determined by myself. They were predetermined by others, sometimes years earlier, and patiently waited for me to discover them.” – John Pfahl
“As Estelle Jussim wrote, it is almost impossible for a single photograph to state both the problem and the solution.” – John Pfahl
“I became wary of simple interpretations that assumed fixed and final meanings.” – John Pfahl
“I want to make photographs whose very ambiguity provokes thought, rather than cuts it off prematurely. I want to make pictures that work on a more mysterious level, that approach the truth by a more circuitous route.” – John Pfahl
Find out more about John Pfahl here.
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15 Quotes By Photographer Josef Koudelka

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Here’s a collection of my favorite quotes by Josef Koudelka.
“What matters most to me is to take photographs; to continue taking them and not to repeat myself. To go further, to go as far as I can.” – Josef Koudelka
“I am not interested in repetition. I don’t want to reach the point from where I wouldn’t know how to go further. It’s good to set limits for oneself, but there comes a moment when we must destroy what we have constructed.” – Josef Koudelka
“If I am dissatisfied, it’s simply because good photos are few and far between. A good photo is a miracle.” – Josef Koudelka
“I have to shoot three cassettes of film a day, even when not ‘photographing’, in order to keep the eye in practice.” – Josef Koudelka
“Sometimes I photograph without looking through the viewfinder. I have mastered that well enough, it is almost as if I were looking through it.” – Josef Koudelka
“When I photograph, I do not think much. If you looked at my contacts you would ask yourself: “What is this guy doing?” But I keep working with my contacts and with my prints, I look at them all the time. I believe that the result of this work stays in me and at the moment of photographing it comes out, without my thinking of it.” – Josef Koudelka
“I don’t pretend to be an intellectual or a philosopher. I just look.” – Josef Koudelka
“I photograph only something that has to do with me, and I never did anything that I did not want to do. I do not do editorial and I never do advertising. No, my freedom is something I do not give away easily.” – Josef Koudelka
“I don’t like captions. I prefer people to look at my pictures and invent their own stories.” – Josef Koudelka
“I never stay in one country more than three months. Why? Because I was interested in seeing, and if I stay longer I become blind.” – Josef Koudelka
“My photographs are proof of what happened. When I go to Russia, sometimes I meet ex-soldiers… They say, ‘We came to liberate you….’ I say: ‘Listen, I think it was quite different. I saw people being killed.’ They say: No. We never… no shooting. No. No.’ So I can show them my Prague 1968 photographs and say, ‘Listen, these are my pictures. I was there.’ And they have to believe me.” – Josef Koudelka
“The changes taking place in this part of Europe are enormous and very rapid. One world is disappearing. I am trying to photograph what’s left. I have always been drawn to what is ending, what will soon no longer exist.” – Josef Koudelka
“It never seemed important to me that my photos be published. It’s important that I take them. There were periods where I didn’t have money, and I would imagine that someone would come to me and say: ‘Here is money, you can go do your photography, but you must not show it.’ I would have accepted right away. On the other hand, if someone had come to me saying: ‘Here is money to do your photography, but after your death it must be destroyed,’ I would have refused.” – Josef Koudelka
“When I first started to take photographs in Czechoslovakia, I met this old gentleman, this old photographer, who told me a few practical things. One of the things he said was, “Josef, a photographer works on the subject, but the subject works on the photographer.” – Josef Koudelka
“I would like to see everything, look at everything, I want to be the view itself.” – Josef Koudelka
View 12 Great Photographs By Josef Koudelka.
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47 Quotes By Photographer Chuck Close

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Here’s a collection of my favorite quotes by artist Chuck Close.
“I don’t work with inspiration. Inspiration is for amateurs. I just get to work.” – Chuck Close
“Inspiration is highly overrated. If you sit around and wait for the clouds to part, it’s not liable to ever happen. More often than not, work is salvation.” – Chuck Close
“The advice I like to give young artists, or really anybody who’ll listen to me, is not to wait around for inspiration. Inspiration is for amateurs; the rest of us just show up and get to work. If you wait around for the clouds to part and a bolt of lightning to strike you in the brain, you are not going to make an awful lot of work. All the best ideas come out of the process; they come out of the work itself. Things occur to you. If you’re sitting around trying to dream up a great art idea, you can sit there a long time before anything happens. But if you just get to work, something will occur to you and something else will occur to you and something else that you reject will push you in another direction. Inspiration is absolutely unnecessary and somehow deceptive. You feel like you need this great idea before you can get down to work, and I find that’s almost never the case.” ― Chuck Close
“You don’t have to reinvent the wheel every day. Today you will do what you did yesterday, and tomorrow you will do what you did today. Eventually you will get somewhere.” – Chuck Close
“I’m not by nature a terribly intuitive person; I need to build a situation in which I will behave more intuitively, and that has really changed the life of my work – I found a way to trick myself into being intuitive.” – Chuck Close
“I was never one of those people who had to have a perfect situation to paint in. I can make art anywhere, anytime — it doesn’t matter. I mean, I know so many artists for whom having the perfect space is somehow essential. They spend years designing, building, outfitting the perfect space, and then when it is just about time to get to work they’ll sell that place and build another one. It seems more often than not a way to keep from having to work. But I could paint anywhere. I made big paintings in the tiniest bedrooms, garages, you name it. you know, once I have my back to the room, I could be anywhere.” – Chuck Close
“On a typical country day I am painting by nine, and I usually work until noon. Three hours in the morning. I will have lunch either at my desk, or if it’s nice I will go to the pool. Of if it’s really nice I will go to the beach for an hour. Have lunch on the beach perhaps, and then I come back and I paint from one to four, another three hours, and about then the light is failing, and I am beginning to fuck up. So then my nurse usually comes at four, and I stop working, clean up, have a big drink, and that’s a typical day. I work every day out there, every single day.” – Chuck Close
“Every idea occurs while you are working. If you are sitting around waiting for inspiration, you could sit there forever.” ― Chuck Close
“All the best ideas come out of the process; they come out of the work itself.” – Chuck Close
“Far more interesting than problem solving is problem creation.” ― Chuck Close
“See, I think our whole society is much too problem-solving oriented. It is far more interesting to [participate in] ‘problem creation’ … You know, ask yourself an interesting enough question and your attempt to find a tailor-made solution to that question will push you to a place where, pretty soon, you’ll find yourself all by your lonesome — which I think is a more interesting place to be.” – Chuck Close
“Get yourself in trouble. If you get yourself in trouble, you don’t have the answers. And if you don’t have the answers, your solution will more likely be personal because no one else’s solutions will seem appropriate. You’ll have to come up with your own.” ― Chuck Close
“Never let anyone define what you are capable of by using parameters that don’t apply to you.” – Chuck Close
“If it looks like art, chances are it’s somebody else’s art.” – Chuck Close
“I am going for a level of perfection that is only mine… Most of the pleasure is in getting the last little piece perfect.” – Chuck Close
“Photography is the easiest medium with which to be merely competent. Almost anybody can be competent. It’s the hardest medium in which to have some sort of personal vision and to have a signature style.” – Chuck Close
“A photograph doesn’t gain weight or lose weight, or change from being happy to being sad. It’s frozen. You can use it, then recycle it.” – Chuck Close
“What difference does it make whether you’re looking at a photograph or looking at a still life in front of you? You still have to look.” – Chuck Close
“The first thing I do is take Polaroids of the sitter – 10 or 12 color Polaroids and eight or 10 black-and whites.” – Chuck Close
“Sometimes I really want to paint somebody and I don’t get a photograph that I want to work from.” – Chuck Close
“A face is a road map of someone’s life. Without any need to amplify that or draw attention to it, there’s a great deal that’s communicated about who this person is and what their life experiences have been.” – Chuck Close
“I wanted to translate from one flat surface to another. In fact, my learning disabilities controlled a lot of things. I don’t recognize faces, so I’m sure it’s what drove me to portraits in the first place.” – Chuck Close
“I think I was driven to paint portraits to commit images of friends and family to memory. I have face blindness, and once a face is flattened out, I can remember it better.” – Chuck Close
“There are so many artists that are dyslexic or learning disabled, it’s just phenomenal. There’s also an unbelievably high proportion of artists who are left-handed, and a high correlation between left-handedness and learning disabilities.” – Chuck Close
“I’m very interested in how we read things, especially the link between seeing two-dimensional and three-dimensional images, because of how I read.” – Chuck Close
“Painting is the frozen evidence of a performance.” – Chuck Close
“Painting is the most magical of mediums. The transcendence is truly amazing to me every time I go to a museum and I see how somebody figured another way to rub colored dirt on a flat surface and make space where there is no space or make you think of a life experience.” – Chuck Close
“Painting is a lie. It’s the most magic of all media, the most transcendent. It makes space where there is no space.” – Chuck Close
“Part of the joy of looking at art is getting in sync in some ways with the decision-making process that the artist used and the record that’s embedded in the work.” – Chuck Close
“I always thought that one of the reasons why a painter likes especially to have other painters look at his or her work is the shared experience of having pushed paint around.” – Chuck Close
“It’s always a pleasure to talk about someone else’s work.” – Chuck Close
“In my art, I deconstruct and then I reconstruct, so visual perception is one of my primary interests.” – Chuck Close
“I build a painting by putting little marks together – some look like hot dogs, some like doughnuts.” – Chuck Close
“I discovered about 150 dots is the minimum number of dots to make a specific recognizable person. You can make something that looks like a head, with fewer dots, but you won’t be able to give much information about who it is.” – Chuck Close
“I can’t always reach the image in my mind… almost never, in fact… so that the abstract image I create is not quite there, but it gets to the point where I can leave it.” – Chuck Close
“There’s something Zen-like about the way I work – it’s like raking gravel in a Zen Buddhist garden.” – Chuck Close
“I knew from the age of five what I wanted to do. The one thing I could do was draw. I couldn’t draw that much better than some of the other kids, but I cared more and I wanted it badly.” – Chuck Close
“Ease is the enemy of the artist. When things get too easy, you’re in trouble.” – Chuck Close
“You know, the way art history is taught, often there’s nothing that tells you why the painting is great. The description of a lousy painting and the description of a great painting will very much sound the same.” – Chuck Close
“It doesn’t upset artists to find out that artists used lenses or mirrors or other aids, but it certainly does upset the art historians.” – Chuck Close
“I think the problem with the arts in America is how unimportant it seems to be in our educational system.” – Chuck Close
“Most people are good at too many things. And when you say someone is focused, more often than not what you actually mean is they’re very narrow.” – Chuck Close
“The reason I don’t like realist, photorealist, neorealist, or whatever, is that I am as interested in the artificial as I am in the real.” – Chuck Close
“In life you can be dealt a winning hand of cards and you can find a way to lose, and you can be dealt a losing hand and find a way to win. True in art and true in life: you pretty much make your own destiny. If you are by nature an optimistic person, which I am, that puts you in a better position to be lucky in life.” ― Chuck Close
“Like any corporation, I have the benefit of the brainpower of everyone who is working for me. It all ends up being my work, the corporate me, but everyone extends ideas and comes up with suggestions.” – Chuck Close
“If the bottom dropped out of the market and the artist was not going to sell anything, he or she will keep working, and the dealer will keep trying to find some way to convince somebody to buy this stuff.” – Chuck Close
“Art saved my life” ― Chuck Close
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21 Quotes By Photographer Harry Callahan

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Here’s a collection of my favorite photographs by photographer Harry Callahan.
“I think I came alive when I started photography.” – Harry Callahan
“To be a photographer, one must photograph. No amount of book learning, no checklist of seminars attended, can substitute for the simple act of making pictures.” – Harry Callahan
“You only do exercises in art school. That’s not the real thing. A little bit tells you so much. You have to find your own self. And you don’t know what you are! But that’s what you have to search for.” – Harry Callahan
“Every time I talked about making a picture I didn’t do it. I had already done it – talking about it! I quit talking.” – Harry Callahan
“I photograph continuously, often without a good idea or strong feelings. During this time the photos are nearly all poor but I believe they develop my seeing and help later on in other photos.” – Harry Callahan
“I guess I’ve shot about 40,000 negatives and of these I have about 800 pictures I like.” – Harry Callahan
“In terms of art, the only real answer that I know of is to do it. If you don’t do it, you don’t know what might happen.” – Harry Callahan
“Experience is the best teacher of all. And for that, there are no guarantees that one will become an artist. Only the journey matters …” – Harry Callahan
“It’s the subject matter that counts. I’m interested in revealing the subject in a new way to intensify it. A photo is able to capture a moment that people can’t always see.” – Harry Callahan
“Photography is an adventure just as life is an adventure.” – Harry Callahan
“I wish more people felt that photography was an adventure the same as life itself and felt that their individual feelings were worth expressing. To me, that makes photography more exciting.” – Harry Callahan
“If man wishes to express himself photographically, he must understand, surely to a certain extent, his relationship to life. I am interested in relating the problems that affect me to some set of values that I am trying to discover and establish as being my life. I want to discover and establish them through photography. This is strictly my affair and does not explain these pictures by any means. Anyone else not having the desire to take them would realize that I must have felt this was purely personal. This reason, whether it be good or bad, is the only reason I can give for these photographs.” – Harry Callahan
“The photographs that excite me are photographs that say something in a new manner; not for the sake of being different, but ones that are different because the individual is different and the individual expresses himself.” – Harry Callahan
“I realize that we all do express ourselves, but those who express that which is always being done are those whose thinking is almost in every way in accord with everyone else. Expression on this basis has become dull to those who wish to think for themselves.” – Harry Callahan
“The mystery isn’t in the technique, it’s in each of us.” – Harry Callahan
“I can tell you for me it goes on forever. There are some things you can’t ever find out. You can’t find out in one life either.” – Harry Callahan
“I think nearly every artist continually wants to reach the edge of nothingness – the point where you can’t go any further.” – Harry Callahan
“I can’t say what makes a picture. I can’t say. It’s mysterious.” – Harry Callahan
“A picture is like a prayer.” – Harry Callahan
“I do believe strongly in photography and hope by following it intuitively that when the photographs are looked at they will touch the spirit in people.” – Harry Callahan
“I like the simple things. I don’t know why. I’m that way. I came from a simple place.” – Harry Callahan
Read my conversation with photographer Harry Callahan here.
 Find more quotes in The Essential List Of Photographers Quotes.

36 Quotes By Photographer Sebastiao Salgado

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You’ll be inspired by this collection of quotes by photographer Sebastiao Salgado.
“I looked through a lens and ended up abandoning everything else.” – Sebastiao Salgado
“When I was just starting out, I met Cartier-Bresson. He wasn’t young in age but, in his mind, he was the youngest person I’d ever met. He told me it was necessary to trust my instincts, be inside my work, and set aside my ego. In the end, my photography turned out very different to his, but I believe we were coming from the same place.” – Sebastiao Salgado
“It is a great honor for me to be compared to Henri Cartier-Bresson…But I believe there is a very big difference in the way we put ourselves inside the stories we photograph. He always strove for the decisive moment as being the most important. I always work for a group of pictures, to tell a story. If you ask which picture in a story I like most, it is impossible for me to tell you this. I don’t work for an individual picture. If I must select one individual picture for a client, it is very difficult for me.” – Sebastiao Salgado
“As long as there’s journalism, there will be photojournalism. They’re two halves of a whole. And although they certainly won’t last forever, for the moment I don’t see either one of them coming to an end. Roland Barthes, in his book Camera Lucida, stated that photography, rather than film or television, is the collective memory of the world. As I see it, he’s right about this. Photography immortalize a moment, which then becomes a symbol, a reference. Photography is universal language; it doesn’t need translation. Its collective memory is a mirror in which our society continually observes itself…” – Sebastiao Salgado
“I’m not an artist. An artist makes an object. Me, it’s not an object, I work in history, I’m a storyteller.” – Sebastiao Salgado
“I can be an artist a posteriori, not a priori. If my pictures tell the story, our story, human story, then in a hundred years, then they can be considered an art reference, but now they are not made as art. I’m a journalist. My life’s on the road, my studio is the planet.” – Sebastiao Salgado
“For me, art is such a wide concept – anything can be art.” – Sebastiao Salgado
“I don’t want anyone to appreciate the light or the palette of tones. I want my pictures to inform, to provoke discussion – and to raise money.” – Sebastiao Salgado
“What I want is the world to remember the problems and the people I photograph. What I want is to create a discussion about what is happening around the world and to provoke some debate with these pictures. Nothing more than this. I don’t want people to look at them and appreciate the light and the palate of tones. I want them to look inside and see what the pictures represent, and the kind of people I photograph.” – Sebastiao Salgado
“I try with my pictures to raise a question, to provoke a debate, so that we can discuss problems together and come up with solutions.” – Sebastiao Salgado
“I am a former economist. I never went to photography school to learn photography.” – Sebastiao Salgado
“I have been photographing the portrait of an end of an era, as machines and computers replace human workers. What we have in these pictures is an archeology.” – Sebastiao Salgado
“You photograph with all your ideology.” – Sebastiao Salgado
“I’m not a religious person. The language of photography is symbolic.” – Sebastiao Salgado
“The language that photography has is a formal language. Any photographer is doing something formal. If it’s formal, then it must be an aesthetic way to communicate.” – Sebastiao Salgado
“Most of the information we now get is through television and is mutilated. Photography offers the opportunity to spend much more time on a topic. It’s relatively cheaper medium, and can allow a photographer really to live in another place, show another reality, get closer to the truth.” – Sebastiao Salgado
“When you work fast, what you put in your pictures is what your brought with yoiu — your own ideas and concepts. When you spend more time on a project, you learn to understand your subjects. There comes a time when it is not you who is taking the pictures. Something special happens between the photographer and the people he is photographing. He realizes that they are giving the pictures to him.” – Sebastiao Salgado
“There comes a moment when it is no longer you who takes the photograph, but receives the way to do it quite naturally and fully.
“You need to be accepted by reality.” – Sebastiao Salgado
“It’s not the photographer who makes the picture, but the person being photographed.” – Sebastiao Salgado
“The picture is not made by the photographer, the picture is more good or less good in function of the relationship that you have with the people you photograph.” ― Sebastião Salgado
“I have tried to bring about better communication between people. I believe that humanitarian photography is like economics. Economy is a kind of sociology, as is documentary photography.” – Sebastiao Salgado
“We live in a society where we never prepare people to be a community.” – Sebastiao Salgado
“We are one human race, and there must be understanding among all men. For those who look at the problems of today, my big hope is that they understand. That they understand that the population is quite big enough, that they must be informed that they must have economic development, that they must have social development, and must be integrated into all parts of the world.” – Sebastiao Salgado
“I work alone. Humans are incredible, because when you come alone, they will receive you, they accept you, they protect you, they give you all things that you need, and they teach you all things you must know. When you come with two persons or three persons, you have a group in front of them. They don’t discuss with the new persons what is important to them…” – Sebastiao Salgado
“I tell a little bit of my life to them, and they tell a little of theirs to me. The picture itself is just the tip of the iceberg.” – Sebastiao Salgado
“There are moments that you suffer a lot, moments you won’t photograph. There are some people you like better than others. But you give, you receive, you cherish, you are there. When you are really there, you know when you see the picture later what you are seeing.” – Sebastiao Salgado
“If you take a picture of a human that does not make him noble, there is no reason to take this picture. That is my way of seeing things.” – Sebastiao Salgado
“I very much like to work on long-term projects…There is time for the photographer and the people in front of the camera to understand each other. There is time to go to a place and understand what is happening there. …When you spend more time on a project, you learn to understand your subjects. There comes a time when it is not you who is taking the pictures. Something special happens between the photographer and the people he is photographing. He realizes that they are giving the pictures to him.” – Sebastiao Salgado
“So many times I’ve photographed stories that show the degradation of the planet. I had one idea to go and photograph the factories that were polluting, and to see all the deposits of garbage. But, in the end, I thought the only way to give us an incentive, to bring hope, is to show the pictures of the pristine planet – to see the innocence.” – Sebastiao Salgado
“I discovered that close to half the planet is ‘pristine.’ We live in towns such as London, Paris or Sao Paulo and have the impression that all the pristine areas are gone, but they are not.” – Sebastiao Salgado
“We are animals, born from the land with the other species. Since we’ve been living in cities, we’ve become more and more stupid, not smarter. What made us survive all these hundreds of thousands of years is our spirituality; the link to our land.” – Sebastiao Salgado
“In the end, the only heritage we have is our planet, and I have decided to go to the most pristine places on the planet and photograph them in the most honest way I know, with my point of view, and of course it is in black and white, because it is the only thing I know how to do.” – Sebastiao Salgado
“I don’t believe a person has a style. What people have is a way of photographing what is inside them. What is there comes out.” – Sebastiao Salgado
“…my way of photographing is my way of life. I photograph from my experience, my way of seeing things…” – Sebastiao Salgado
“Of course, I won’t be abandoning photography, because it is my life.” – Sebastiao Salgado
Explore The Essential Collection of Quotes By Photographers here.
View The Essential Collection Of Photographers Documentaries here.