Caption Photographer Quotes

With the selfies, a photographer has finally found his place in a photograph.

No man thinks the same story when looking at a photo because every mind lived a different story!

My selfie my life!

A selfie has more face and fewer feelings.

Somewhere between what the lens depicts and what the caption interprets, a mental picture intervenes, a cultural ideology defining what and how to see, what to recognize as significant.

What do we feel when we look at a good photograph? We just want to be there, right at the exact moment that photo taken!

Photography is basically an art of arranging the angles!

We tell stories using light. We tell stories using shadows. That's it.

I stare past her at the inspirational kitten posters. There's one of a soaking-wet kitten climbing out of a toilet with the caption "it could be worse!" "Just tell me whatever it is you're thinking," Mrs. Paulsen says. "Whatever is going through your mind right now." "I hope they didn't actually drop a cat in the toilet to get that picture," I choke out. "...Pardon?" "Nothing. Sorry.

We visited Mao's old house, which had been turned into a museum-cum-shrine. It was rather grand––quite different from my idea of a lodging for exploited peasants, as I had expected it to be. A caption underneath an enormous photograph of Mao's mother said that she had been a very kind person and, because her family was relatively well off, had often given food to the poor. So our Great Leader's parents had been rich peasants! But rich peasants were class enemies! Why were Chairman Mao's parents heroes when other class enemies were objects of hate? The question frightened me so much that I immediately suppressed it.

When you take the picture of the people, you take the picture of the whole stories of their past because every person is nothing but a combination of their entire past stories!

Our photographs are our best proof to others that we lived the things we lived in the past!

Photographs that depict suffering shouldn't be beautiful, as captions shouldn't moralize.

At the door, Smith said to Hickock, “No chicken-hearted jurors, they!” They both laughed loudly, and a cameraman photographed them. The picture appeared in a Kansas paper above a caption entitled: “The Last Laugh?

Having Orion’s new number was a treat in itself. I sent him daily photographs of me and Darcy together with captions like #sheaintblueoveryounomore and #teamDeth. He’d blocked my number after threatening to rip my intestines out and strangle me with them – amongst other murderous threats - but then I got a magical app which sent my texts from anonymous numbers so he couldn’t keep me away. It was hilarious. And very intentional. Because I was officially kickstarting Mission: Get Darion Back Together.

In one enciphering corner of my mind I believe still that every line in every poem is the orphaned caption of a lost photograph. By a related logic, each photograph sits in the antechamber of speech. Undissolved fragments of the past can be seen through the skin of photograph.

Photos which captures human sadness are the noblest and the most meaningful of all the photos!

Frozen finger shot brings the warmest picture

Anytime you would see a photograph of him in the paper, the caption would always be something like, "Talks collapsed late last night.

To fake a photograph, all you have to do is change the caption. To fake a painting, change the attribution.” —Errol Morris

We photographers are a despicable bunch. We take photographs. The best of us do not show people as they wish to be seen, instead, we show people as we imagine they really are.

From a good photo, sun rays impinge on your eyes; water drips into your hands; the smell of grass comes to your nose! A good photo is real like the reality itself!

In successful photography, you don't just look alive at the photo, but the photo also looks alive at you!

When the unique beauty of nature, the photographer's amazing ability and the perfect light of the sun come together, a genius photo appears where art looks more real than the reality!

If you want to trick someone with a photograph, there are lots of easy ways to do it. You don’t need Photoshop. You don’t need sophisticated digital photo-manipulation. You don’t need a computer. All you need to do is change the caption.

As a photographer, I understand the natural curiosity to know the technical side of how an image was made, but it’s important to remember–cameras and equipment do not make art–artists do. Allow the images to move you without considering external factors.

To an Israeli Jew, a photograph of a child torn apart in the attack on the Sbarro pizzeria in downtown Jerusalem is first of all a photograph of a Jewish child killed by a Palestinian suicide-bomber. To a Palestinian, a photograph of a child torn apart by a tank round in Gaza is first of all a photograph of a Palestinian child killed by Israeli ordnance. To the militant, identity is everything. And all photographs wait to be explained or falsified by their captions. During the fighting between Serbs and Croats at the beginning of the recent Balkan wars, the same photographs of children killed in the shelling of a village were passed around at both Serb and Croat propaganda briefings. Alter the caption, and the children’s deaths could be used and reused.

As any American with children knows, our children have at least one bright, clear reason for being: to furnish subjects for digital photographs that can be corrected, cropped, captioned, organized, categorized, albumized, broadcast, turned into screen savers, and brandished on online social networks.

The illiterate of the future’, it has been said, ‘will not be the man who cannot read the alphabet, but the one who cannot take a photograph’. But must we not also count as illiterate the photographer who cannot read his own pictures? Will not the caption become the most important component of the shot?

And if there is water there let it be from a river. And if there is peace let it be from silence and forgetting. From the slow settle of dust on a house worn down, on a history lost, on a woman buried quietly into geography. And if there is memory let it be disjointed and nonsensical, let it disturb understanding and logic, let it rise like birds or hands into the blood blue bone of the sky, whispering its nothing beyond telling. (…) Let someone lose the captions to all of the photographs; let them pile into new logics and forms that outlive us. - “Siberia: Still Life of a Moving Image” (6. Representation)

In the forty minutes I watched the muskrat, he never saw me, smelled me, or heard me at all. When he was in full view of course I never moved except to breathe. My eyes would move, too, following his, but he never noticed. Only once, when he was feeding from the opposite bank about eight feet away did he suddenly rise upright, all alert- and then he immediately resumed foraging. But he never knew I was there. I never knew I was there, either. For that forty minutes last night I was as purely sensitive and mute as a photographic plate; I received impressions, but I did not print out captions. My own self-awareness had disappeared; it seems now almost as though, had I been wired to electrodes, my EEG would have been flat. I have done this sort of thing so often that I have lost self-consciousness about moving slowly and halting suddenly. And I have often noticed that even a few minutes of this self-forgetfulness is tremendously invigorating. I wonder if we do not waste most of our energy just by spending every waking minute saying hello to ourselves. Martin Buber quotes an old Hasid master who said, “When you walk across the field with your mind pure and holy, then from all the stones, and all growing things, and all animals, the sparks of their souls come out and cling to you, and then they are purified and become a holy fire in you.

The sight of this woman infringing on the privacy of others so aggressively and casually sent revulsion through my entire being. What was she doing? Hunting big game? Were the people in this small village home just a quarry to be stalked, a trophy later to be mounted on the wall? It was one of those moments when I felt ashamed to be linked with this thing we call photography. We photographers “shoot” and “capture”. We may insist that we “make” a photograph, but everyone knows we really take them.

Her sample drawings were clipped, rather subordinately, to her photograph. All of them were arresting. One of them was unforgettable. The unforgettable one was done in florid wash colors, with a caption that read: 'Forgive Them Their Trespasses.' It showed three small boys fishing in an odd-looking body of water, one of their jackets draped over a 'No Fishing!' sign. The tallest boy, in the foreground of the picture, appeared to have rickets in one leg and elephantiasis in the other--an effect, it was clear, that Miss Kramer had deliberately used to show that the boy was standing with his feet slightly apart.

The depth to which Indian Muslims had sunk in British eyes is visible in an 1868 production called The People of India, which contains photographs of the different castes and tribes of South Asia ranging from Tibetans and Aboriginals (illustrated with a picture of a naked tribal) to the Doms of Bihar. The image of ‘the Mahomedan’ is illustrated by a picture of an Aligarh labourer who is given the following caption: ‘His features are peculiarly Mahomedan … [and] exemplify in a strong manner the obstinacy, sensuality, ignorance and bigotry of his class. It is hardly possible, perhaps, to conceive features more essentially repulsive.

We've taken it away too much, the funeral people take over. No. Let people bury their own." "Do you think it helps people to go through the process and be intimately involved?" "Yes of course, of course!" It's the most emphatic Steve has been about anything. "Keep the body at home, put it on the dining table, let the kids sleep under the table, paint the coffin, decorate it, eat. When my brother died we had fights over the coffin drinking whiskey. I remember one brother pounding Bill's coffin 'Oh you bastard!' It was our lives. We carried the coffin, we filled in the hole. I used to work in the garden as a boy with my father. And I dug the hole to put his plants in and filled in the hole. In the end we put Dad into the ground and I helped my brothers fill in the hole. We need to do it ourselves." "Why do you think it helps to have that involvement?" "It's our responsibility, it's not to help, it's enabling us to grieve, it's enabling us to go through it together. Otherwise it's taken away and whoosh - it's gone. And you can't grieve. You've got to feel, you've got to touch, you've got to be there." Steve is passionate. He reaches into his bag to pull out something to show me. It's an old yellowing newspaper clipping. The caption reads 'Devastation: a woman in despair at the site of the blasts near the Turkey-Syrian border'. The photograph is a woman, she has her arms open to the sky and she is wailing, her head thrown back. "I pray in front of that" Steve tells me as I look at it. "That's a wonderful photo of the pain of our world. I don't know if she's lost relatives or what's blown up. You have a substance to your life if you've felt pain, you've got understanding, that's where compassion is, it makes you a deeper richer human being.

Auto-Zoomar. Talbert knelt in the a tergo posture, his palms touching the wing-like shoulder blades of the young woman. A conceptual flight. At ten-second intervals the Polaroid projected a photograph on to the screen beside the bed. He watched the auto-zoom close in on the union of their thighs and hips. Details of the face and body of the film actress appeared on the screen, mimetized elements of the planetarium they had visited that morning. Soon the parallax would close, establishing the equivalent geometry of the sexual act with the junctions of this wall and ceiling. ‘Not in the Literal Sense.’Conscious of Catherine Austin’s nervous hips as she stood beside him, Dr Nathan studied the photograph of the young woman. ‘Karen Novotny,’ he read off the caption. ‘Dr Austin, may I assure you that the prognosis is hardly favourable for Miss Novotny. As far as Talbert is concerned the young woman is a mere modulus in his union with the film actress.’ With kindly eyes he looked up at Catherine Austin. ‘Surely it’s self-evident - Talbert’s intention is to have intercourse with Miss Taylor, though needless to say not in the literal sense of that term.’ Action Sequence. Hiding among the traffic in the near-side lane, Koester followed the white Pontiac along the highway. When they turned into the studio entrance he left his car among the pines and climbed through the perimeter fence. In the shooting stage Talbert was staring through a series of colour transparencies. Karen Novotny waited passively beside him, her hands held like limp birds. As they grappled he could feel the exploding musculature of Talbert’s shoulders. A flurry of heavy blows beat him to the floor. Vomiting through his bloodied lips, he saw Talbert run after the young woman as she darted towards the car. The Sex Kit.‘In a sense,’ Dr Nathan explained to Koester, ‘one may regard this as a kit, which Talbert has devised, entitled “Karen Novotny” - it might even be feasible to market it commercially. It contains the following items: (1) Pad of pubic hair, (2) a latex face mask, (3) six detachable mouths, (4) a set of smiles, (5) a pair of breasts, left nipple marked by a small ulcer, (6) a set of non-chafe orifices, (7) photo cut-outs of a number of narrative situations - the girl doing this and that, (8) a list of dialogue samples, of inane chatter, (9) a set of noise levels, (10) descriptive techniques for a variety of sex acts, (11) a torn anal detrusor muscle, (12) a glossary of idioms and catch phrases, (13) an analysis of odour traces (from various vents), mostly purines, etc., (14) a chart of body temperatures (axillary, buccal, rectal), (15) slides of vaginal smears, chiefly Ortho-Gynol jelly, (16) a set of blood pressures, systolic 120, diastolic 70 rising to 200/150 at onset of orgasm . . . ’ Deferring to Koester, Dr Nathan put down the typescript. ‘There are one or two other bits and pieces, but together the inventory is an adequate picture of a woman, who could easily be reconstituted from it. In fact, such a list may well be more stimulating than the real thing. Now that sex is becoming more and more a conceptual act, an intellectualization divorced from affect and physiology alike, one has to bear in mind the positive merits of the sexual perversions. Talbert’s library of cheap photo-pornography is in fact a vital literature, a kindling of the few taste buds left in the jaded palates of our so-called sexuality.

If your photo looks happy while you are unhappy, then the photo has no meaning! If your photo looks unhappy while you are happy, again the photo has no meaning! Only if a photo captures your true emotions, it will be meaningful!

The 2 September 2010 issue of prestigious British magazine, The Economist, published on page 29 an article with a large photograph of Prime Minister Manmohan Singh. Below the picture was the caption ‘India’s Disappointing Government’. The word ‘disappointing’ is an understatement. The epithet ‘criminal’ would have been appropriate.

[...] in other words, an idealist and determinist covenant with what had been and what was manifest in every nail, piece of wood, caption, and photograph in this installation design." (Mary Anne Staniszewski, author of The Power of Display)

Time is the sole photographer of all the times, from the Big Bang till the possible Big Crunch!

When we look at the old photographs, we always ask three main questions: Are they alive? If they are, where are they? And finally, what is their life story? Photography is an art of creating many questions in the mind of the viewer!

An excellent photograph is the one which has excellently captured an excellent moment!

When you're taking photographs of people, creating the “perfect scenery” is always secondary. It's much more important to capture the emotions. Especially when there's true love.

When we see a photo of a sad busker, the first person we should think about is that musician, because the photographer is just an intermediary, the important thing is the person who is the subject of the photo.

Sometimes you see a photograph, a long novel pops up in your mind! A photo that draws you into a world of thoughts and dreams is undoubtedly a good photo!

The sun creates your shadow; the mirror takes your shadow into itself; if you take a photo of the mirror, your shadow will be a photo standing in the mirror! Those who see the photo congratulate the photographer, forget the sun, and forget the mirror! While celebrating beauty, don't forget those who contributed to its creation!

Henri Cartier-Bresson's approach exemplifies this interest in the autonomy of modernist photographs. Cartier-Bresson took many of his photographs as a professional photojournalist, reporting on conditions and events around the world in multi-image picture-stories. Yet he regularly republished single images from these stories in anthologies with little or no captioning, elevating them in the process from a context of journalism to art.

Which brings us to a little book that may provide a clue to the cure. My wife got it as a gift from a friend. It is titled Porn for Women. It’s a picture book of hunks, photographed in all their chiseled, muscle-bound, testosterone-marinated, PG-rated glory. Lots of naked chests and low-cut jeans, complete with tousled hair and beckoning eyes. And they are ALL doing housework. There’s a picture of a well-cut Adonis, and he’s loading the washing machine. The caption reads: “As soon as I finish the laundry, I’ll do the grocery shopping. And I’ll take the kids with me so you can relax.” There’s another hunk, the cover guy, vacuuming the floor. A particularly athletic-looking man peers up from the sports section and declares, “Ooh, look, the NFL playoffs are today. I bet we’ll have no trouble parking at the crafts fair”. Porn for Women. Available at a marriage near you.

I am all for encouraging the arts and literature, but I do think writers should seek out their own publishers and write their own introductions. The perils of doing this sort of thing was illustrated when I was prevailed upon to write a short introduction to a book about a dreaded man-eater who had taken a liking to the flesh of the good people of Dogadda, near Lansdowne. The author of the book could hardly write a decent sentence, but he managed to string together a lengthy account of the leopard's depradations. He was so persistent, calling on me or ringing me up that I finally did the introduction. He then wanted me to edit or touch up his manuscript; but this I refused to do. I would starve if I had to sit down and rewrite other people's books. But he prevailed upon me to give him a photograph. Months later, the book appeared, printed privately of course. And there was my photograph, and a photograph of the dead leopard after it had been hunted down. But the local printer had got the captions mixed up. The dead animal's picture earned the line: 'Well-known author Ruskin Bond.' My picture carried the legend: 'Dreaded man-eater, shot after it had killed its 26th victim.' The printer's devil had turned me into a serial killer. Now

Marina leaned her head against him and sniffled. It was common in this day and age, when waiting someplace, to look around at your involuntary companions and imagine you were trapped with them someplace more dire: a hostage situation or a building on fire, something requiring teamwork and survival. Could you build the camaraderie promised in movies about such times, or would you fall apart? Phil Needle looked around and realized, quietly but sharply, that he and his wife would not survive this. Gwen's disappearance would slaughter them. YOU WANT IT WHEN? was the caption on the poster. It was talking about office work, and the sad fact, true at the time, that people want things right away and that other people don't care about that. The poster reminded people that it didn't matter what you wanted. Where was she? Where did somebody put her? Where were those ragged thumbs of hers, and her odd, tiny earlobes? Was he about to become one of those guys, clutching a photograph of Gwen, on the news every year in support of an extreme new crime law? Were they becoming one of those families used as a murmured example of the wickedness of the world, as a worst-case scenario to comfort those whose daughter was merely pregnant or paralyzed? Would there be a funeral, everyone sweating in black clothes in the summer and squinting in sunglasses? Oh God, would there be a hasty peer-group shrine, wherever she was found, with cheap flowers and crappy poetry melting in the rain? Would her college fund sit forgotten for a while in the bank, like a tumor thought benign, and then be emptied impulsively on some toy to cheer himself up? He had seen in a magazine a handsome automobile some months ago, shiny as clean water.

Having Orion’s new number was a treat in itself. I sent him daily photographs of me and Darcy together with captions like #sheaintblueoveryounomore and #teamDeth.

Drewe set to work manipulating history. In one brazen but typical ploy at the National Art Library, he razored apart a catalog from a 1955 show at a London gallery that had since gone out of business. Then he created new pages with photographs of Myatt forgeries, added captions in the proper typeface, inserted the false pages among the real ones, reassembled the catalog, and set it back on the shelves. The scheme, which focused not on the paintings themselves but on the documentation that proved the paintings’ bona fides, was ingenious. Why bother going through surgery to change your fingerprints if you can change the fingerprint records in the FBI files?

From center stage to behind-the-scenes—this is a must-have for all Patriots. Every photograph has been handpicked by me and every caption is mine, some in my own handwriting

That photograph I saw of him and his friends posed around the deer carcass, rifles resting against their sides like drunken prom dates, beer cans raised high … According to the caption, it was taken just this past August.

Most memorably for readers, Hochschild reprints staged photographs taken by the English missionary Alice Seeley Harris and supplied to the anti-Léopold campaign through the English missionary John Weeks. The missionaries knew that showing these fake photos at “lantern shows” in community halls in Britain won more attention and donations than their detailed accounts of cannibalism and sleeping sickness ravaging their areas. Hochschild does not tell the reader that the photographs are staged, nor does he explain that the photographs of people with severed hands were victims of gangrene, tribal vendettas, or cannibalism having nothing to do with rubber. In the most famous photo of them all, a man whom Seeley got to sit on the veranda of her mission station with a severed hand and foot before him, the original caption given by Morel reads: “Sala of Wala and remains of his five year old daughter; both wife and child were eaten by king’s soldiers at a cannibal feast. Until Hochschild, no one had suggested that the girl or her mother were killed for rubber, only that the EIC had failed to control the eating habits of its citizens. Hochschild, however, captions the photo thus: “Nsala, of the district of Wala, looking at the severed hand and foot of his five-year-old daughter, Boali, a victim of the Anglo-Belgian India Rubber Company (A.B.I.R.) militia.

There I was caught out by the press. I was standing on a heap of cut grass and the Daily Mirror photographer asked me to pick some up. I saw nothing wrong with that, and so I obliged. He took his photograph — and the picture duly appeared the following day with the caption ‘Let them eat grass’. It does not do to be too co-operative.

We can put forward a conspiracy theory about people wearing red dresses: They are photographer hunters!

(Take a moment to look up “Baalbec, Great Monolith” [the Stone of the Pregnant Woman] from The Holy Land Photographed by Daniel B. Shepp, 1894.[549] Shepp’s original caption under the photo captured over one hundred and twenty years ago is as follows: “Taken as a whole, the ruins of Baalbec are among the

Take a look at photos where a person who is still alive and a person who died are together! Here lies a real illusion here! As if two birds were together, one flew away, but still the two are together! One of the two stones in the river has drifted away, but both are still side by side!

The good photo settles in your eye; the better photo settles in your mind, but the best photo settles in your heart!

The camera does not make the photographer, it’s the eye that sublimates the image Dominique Hanneuse

It was the same photograph that had been in all the papers eight years ago and that he now used again in his ads: the one he had taken on the café terrace in Paris on the morning before she disappeared, the last picture of her. In seven-eighths profile, she looked at Rex with a knowing smile, as if she had something up her sleeve. The caption read: ...two cans... Under the title "French Appeal for Missing Girl-friend," the story of her disappearance was told once more, abbreviated, and with a few small errors. They'd gone ahead and quoted the sum he'd supposedly paid for the ads: The price: a cool eighty thousand guilders. He must have gone deep into dept for this. Hoping for what? "Nothing," says Hofman. "It's a tribute.

Photograph of the Girl The girl sits on the hard ground, the dry pan of Russia, in the drought of 1921, stunned, eyes closed, mouth open, raw, hot wind blowing sand in her face. Hunger and puberty are taking her together. She leans on a sack, layers of clothes fluttering in the heat, the new radius of her arm curved. She cannot be not beautiful, but she is starving. Each day she grows thinner, and her bones grow longer, porous. The caption says she is going to starve to death that winter with millions of others. Deep in her body the ovaries let out her first eggs, golden as drops of grain.

Too often, the people who write captions to photographs indulge their own uninformed fantasies about the pictures and what they mean.

One of the weirdest things human beings do in this universe is that they take very strange postures when their photos are taken!

There is always a good-timing in every great photo!

Leary and Haynes published a fanzine called Strange V.D., which featured the most horrendous medical photographs they could find accompained by captions describing fictitious diseases like “taco leg” and “pine cone butt.

To the militant, identity is everything. And all photographs wait to be explained or falsified by their captions.

Who is the creator of a beautiful photo? Is it just a photographer? No! If the thing photographed is not there, that photograph would not exist! The creator of a beautiful photo is both the photographer and the thing being photographed!

To the militant, identity is everything. And all photographs wait to be explained or falsified by their captions.