Concept Photography Quotes

There is nothing worse than a sharp image of a fuzzy concept.

Sharpness is a bourgeois concept

For the photograph's immobility is somehow the result of a perverse confusion between two concepts: the Real and the Live: by attesting that the object has been real, the photograph surreptitiously induces belief that it is alive, because of that delusion which makes us attribute to Reality an absolute superior, somehow eternal value; but by shifting this reality to the past ('this-has-been'), the photograph suggests that it is already dead.

if you have the tools but do not have the visual concept, the tools do not work

A good description of photography necessitates that one treat it as an essence unto itself; not as an event either of the World or of philosophy, or as a syncretic sub-product of modern science and technology; that one recognize the existence, not just of a photographic art, but of an authentic photographic thought; the existence, beyond the components of technology and image production, of a certain specific relation to the real, one which knows itself as such.

I am intrigued with scriptural mythology that tells us that God created a divine feminine presence to dwell amongst humanity. This concept has had a constant influence on the work. I have imagined her as ubiquitous, watchful, and often in motion. This work is, in effect, the photographic image of the invisible.

To get from the tangible to the intangible (which mature artists in any medium claim as part of their task) a paradox of some kind has frequently been helpful. For the photographer to free himself of the tyranny of the visual facts upon which he is utterly dependent, a paradox is the only possible tool. And the talisman paradox for unique photography is to work "the mirror with a memory" as if it were a mirage, and the camera is a metamorphosing machine, and the photograph as if it were a metaphor…. Once freed of the tyranny of surfaces and textures, substance and form [the photographer] can use the same to pursue poetic truth" (Minor White, Newhall, 281).

At different times I've worked in different mediums. For me, the variation is not an artistic judgment, but a necessary choice. It's just as normal to eat with chopsticks, as it is to eat with forks or hands. Different circumstances call for different tools. I try to express ideas with the most appropriate available materials and forms. Very often the medium comes first, and then my reasons for it. Sometimes, I work with a medium I don't like out of curiosity. It is an experiment to challenge my pre-existing concepts and tastes. I've taken hundreds and thousands of photographs, and it's not because I like the medium. I wanted something to parallel my daily activities, and photography is the most logical way of doing that. I filmed documentaries because the medium reflects real conditions the most completely. I don't think artists should only work with what is handiest and most familiar, because the unfamiliar provides a challenge, and it creates another language. It defines the condition for new possibilities.

The idea of bearing witness is often very problematic as a concept, as a rhetorical tool, and as a literary device. We no longer need James Nachtwey to fly to war-torn Bosnia. Everyone is a photographer now, so we are all witnesses. We live in a surveillance economy where we are constantly just bearing witness. Which means that the capacity to see does not automatically become the capacity for action. What is the function of seeing something, and saying something, if it doesn’t lead to concrete action or change?

Behind every selfportrait, There's an idea I want to convey, A pose, a concept, a quote; I want to inteprete. But most often than not : this is not about me. It's about curves, It's about light, It's about motion, And emotions. At a certain period, When artists wanted to represent themselves, They had to sit and paint, And lie and wait. For hours. And during those times they spent, In layers and layers of colours, They had to have this whole introspection process... It's got to be. Because it's about expressing something that comes from within. It's about sharing a part of ourselves; A part we'd rather keep secret.

Often interfaces are assumed to be synonymous with media itself. But what would it mean to say that “interface” and “media” are two names for the same thing? The answer is found in the remediation or layer model of media, broached already in the introduction, wherein media are essentially nothing but formal containers housing other pieces of media. This is a claim most clearly elaborated on the opening pages of Marshall McLuhan’s Understanding Media. McLuhan liked to articulate this claim in terms of media history: a new medium is invented, and as such its role is as a container for a previous media format. So, film is invented at the tail end of the nineteenth century as a container for photography, music, and various theatrical formats like vaudeville. What is video but a container for film. What is the Web but a container for text, image, video clips, and so on. Like the layers of an onion, one format encircles another, and it is media all the way down. This definition is well-established today, and it is a very short leap from there to the idea of interface, for the interface becomes the point of transition between different mediatic layers within any nested system. The interface is an “agitation” or generative friction between different formats. In computer science, this happens very literally; an “interface” is the name given to the way in which one glob of code can interact with another. Since any given format finds its identity merely in the fact that it is a container for another format, the concept of interface and medium quickly collapse into one and the same thing.

The optical unconscious remains elusive. This concept is not something that is directly available to sight, but it nevertheless informs and influences what comes into view. By attending to this idea, one might become newly aware of previously unnoticed details and dynamics, as well as the material, social, and psychic structures that shape perception. In several of his books, the British psychoanalyst Christopher Bollas described this disavowed dimension as the "unthought known." This refers to material that is either emotionally undigested or actively barred from consciousness." As Bollas teaches us, this "unthought" material is, in fact, an integral part of knowledge. And indeed, it seems photography may be one of the principal means to circulate this unconscious material that remains vexingly obscure. Like latent memories, details of photographic information snap into focus and become visible in unpredictable moments. As Benjamin put it, they"flash up" in moments of danger and desire - and they can quickly fade from view unless seized in a moment of recognition.

that our minds are incapable of imagining something too far removed from, not adjacent to, our current possible. No one in the eleventh century could invent a television, because first so many other things had to be discovered or invented: electricity, photography, etc. When a concept or an idea is too far removed from the world we live in and understand, it is impossible for us to grasp and comprehend it. That’s why inventions often occur in clusters, because once something is adjacent to our current possible, many people can imagine the evolution of it, and therefore can be working on the same thing at the same time without ever having met or communicated with one another.

Traditional images signify phenomena whereas technical (produced by an apparatus) images signify concepts.

This year, however, we wish to reflect a unique cohort with a unique approach to the trip theme. This year, we wish to pose the theme as a question: what is more truthful, a painting or a photograph? We wish you to question the concept of truth—or disclosure—and investigate what it means to you and how you perceive and practise that truth. Instead of the photography and fine arts classes working on the same assignment separately, you’ll be working in pairs. Between the two of you, you will need to search deep within yourselves and decide which of your art forms is the most truthful. You will present your findings in the form of a 3,000-word essay due once you return from the trip, and you will later present your work at the prestigious Spearcrest end-of-year exhibition.

The great cricketer Virat Kohli said in an interview that he does not try for excellence in cricket. Rather he believes in a concept called 'betterment' - to become better each day than your former self. I believe there is an amazing depth in his words. The philosophy is simple yet profound . If you stay focussed in any field, then you would eventually become adept in that field. By consistently doing your work better each day, you would get closer to achieving your best or excellence. Whether your field may be sports, theatre, writing, acting, dancing, photography, cooking, painting, singing, research, science, business, politics or teaching - one day you become a legend.

The great cricketer Virat Kohli said in an interview that he does not try for excellence in cricket. Rather he believes in a concept called 'betterment' - to become better each day than your former self. I believe there is depth behind his words. The philosophy is simple yet profound . If you stay focussed in any field, then you would eventually become adept in that field. By consistently doing your work better each day, you would get closer to achieving your best or excellence. Whether your field may be sports, theatre, writing, acting, dancing, photography, cooking, painting, singing, research, science, business, politics or teaching - one day you become a legend.

Les images sont médiatrices entre l’homme et le monde. (…) Censées être des cartes destinées à s’orienter, elles deviennent écrans ; au lieu de représenter le monde, elles le rendent mécon-naissable, jusqu’à ce que l’homme finisse par vivre en fonction des images qu’il a lui-même créées. Il cesse de déchiffrer les images, pour les projeter, non déchiffrées, dans le monde « du dehors ». (…) Ainsi, en inventant l’écriture, c’est d’un pas de plus que l’homme s’est éloigné du monde. Les textes ne signifient pas le monde, mais les images qu’ils déchirent. Dès lors, déchiffrer des textes revient à découvrir les images qu’ils signifient. La visée des textes est d’expliquer les images ; celle des concepts est de rendre compré-hensibles les représentations. Par conséquent, les textes sont un métacode des images.

Who made the concept of smiling for camera a social norm? It's not required for one to smile unless you really are smiling while photo us being clicked.

Google was in the water when the waves of Internet traffic came because it was tinkering with new ideas under the umbrella of Google’s famous “20% Time.” “20% Time” is not Google indigenous. It was borrowed from a company formerly known as Minnesota Mining and Manufacturing, aka 3M, which allowed its employees to spend 15 percent of their work hours experimenting with new ideas, no questions asked. 3M’s “15% Time” brought us, among other things, Post-it Notes. Behind this concept (which is meticulously outlined in an excellent book by Ryan Tate called The 20% Doctrine) is the idea of constantly tinkering with potential trends—having a toe in interesting waters in case waves form. This kind of budgeted experimentation helps businesses avoid being disrupted, by helping them harness waves on which younger competitors might otherwise use to ride past them. It’s helped companies like Google, 3M, Flickr, Condé Nast, and NPR remain innovative even as peer companies plateaued. In contrast, companies that are too focused on defending their current business practice and too fearful to experiment often get overtaken. For example, lack of experimentation in digital media has cost photo brand Kodak nearly $ 30 billion in market capitalization since the digital photography wave overwhelmed it in the late ’90s. The best way to be in the water when the wave comes is to budget time for swimming.

Need to shoot some pictures is not only found in the special family occasions, but also necessary for architecture, landscape and even industries. These are pictures which are kept by business related people, so that these can be used in some way or the other in their business ventures. To shoot such pictures of landscape or industries, the industrial photographer is important. Such a professional will be able to know the right places to place the camera, proper areas to be shot and the type of video or photographs to be captured. The same goes true for the architectural photographer, who can shoot pictures from the proper angles and keep the images required during the editing process. Such features can be understood by photographers after lots of experience and suitable cameras. • To become architectural photographer, skills need to be rightly developed Holding a camera and shooting with the right ingredients is a part of the professional work of a photographer. It is possible to get the right images by the industrial photographer, if the camera angle and distance is adjusted. Also, the exposure is of good quality, with camera being found in the proper regions. In their efforts to come up with proper photographs, these professionals get high end cameras, with plenty of different variations possible. In the event of getting the best deals, people should also depend on these professionals. By the virtue of being an architectural photographer, the experience is of much importance. These people will know the right camera angle and the best possible designs that can be shot. Many precautions are also to be taken, because the concept of photography is good technique, which can be developed by proper observation of the scenario. Visit us:- raygun.com.au

Photography theory is most often situated between art history, film theory, and communication studies

Genre, then, as a means of study is a way we can examine and discuss the elements and functions of a type of practice. This work of identifying the features and characteristics is theoretical in one sense and critical in being able to understand how it works.

If any city was a study in noir et blanc—be it black-and-white photography, film, or literature—Paris was it. The French versions of all three techniques were born during the Age of Romanticism. So was the concept of the daredevil avenger-antihero of the noir crime novel genre, the so-called polar, a Parisian specialty I learned to love.

It's this place, this city and what it turns a person into. We talked about this..[he] had become increasingly disillusioned with living in New York. Something along the lines of: the city..tedious and boring, its charms as illusory as its facade of authenticity. Its lines were too long. Everything was a status symbol and everything cost too much. There were so many on-trend consumers, standing in lines for blocks to experience a fad dessert, gimmicky art exhibits, a new retail concept store. We were all making such uninspired lifestyle choices. We, including me. Me, nothing really weighed on me, nothing unique. Me, I held down an office job and fiddled around with some photography when the moon hit the Gowanus right. Or something like that, the usual ways of justifying your life, of passing time. With the money I made, I bought Shiseido facial exfoliants, Blue Bottle coffee, Uniqlo cashmere.

Herbert Bayer was a photographer, an architect, a painter, and he was also the inventor of photo montage, as well as one of the originators—and probably the first modern—land artist. And so it was the idea that an artist could do all of these things using the same basic design concepts, and that it didn’t really matter if he was creating a beautiful land sculpture or if he was using photography or painting. He was really making art using the same methods, the same Bauhaus-type methods.

Since she was ten, the most powerfully loaded word in Dora's house, in her vocabulary, had been opportunity. And from what little she knew or cared about history, it seemed to her that until 1989 the word, the concept, had not existed. Life before the change was all about cigarettes and salted bread rolls for breakfast, maybe a cup of cocoa in a milk house on the way to work or school. It was a dun-colored existence. If a person was ambitious, he or she joined the Party to get ahead, but most people kept their mouths shut and their heads down. They pursued hobbies like photography or tennis; or maybe they climbed mountains or kept a garden and traded whatever extra they had for something they didn't have; or maybe, if they were overly ambitious, they carried whatever extras they could round up to the co-op or the weekly market, and they sold it for a bit of change.