Event Photography Quotes

It is a cruel, ironical art, photography. The dragging of captured moments into the future; moments that should have been allowed to be evaporate into the past; should exist only in memories, glimpsed through the fog of events that came after. Photographs force us to see people before their future weighed them down....

The very secret of life for me, I believed, was to maintain in the midst of rushing events an inner tranquility.

A photograph is a universe of dots. The grain, the halide, the little silver things clumped in the emulsion. Once you get inside a dot, you gain access to hidden information, you slide into the smallest event. This is what technology does. It peels back the shadows and redeems the dazed and rumbling past. It makes reality come true.

When people photograph an object, they often put a pack of cigarettes next to it to give the viewer a sense of the object’s actual size, but the pack of cigarettes next to the images in my memory expanded and contracted, depending on my mood at the time. Like the objects and events in constant flux, or perhaps in opposition to them, what should have been a fixed yardstick inside the framework of my memory seemed instead to be in perpetual motion.

Any moment which is not captured is loss in the events of time.

Let us take you into a deeper experience, make a moment a lasting conveyable memory. Let us help build your tribe.

Everything is destined to reappear as simulation. Landscapes as photography, woman as the sexual scenario, thoughts as writing, terrorism as fashion and the media, events as television. Things seem only to exist by virtue of this strange destiny. You wonder whether the world itself isn’t just here to serve as advertising copy in some other world.’ Jean Baudrillard,

Page thirteen of the Baudelaire file was not a crowded sheet of paper - there was just one photography and a sentence to make an author cry himself to sleep even years after the photograph was taken, or to make three siblings sit and stare at a page for a long time, as if an entire book were printed on one sheet of paper.

It's a cruel, ironical art, photography. The dragging of captured moments into the future; moments that should have been allowed to evaporate with the past, should exist only in memories glimpsed through the fog of events that came after. Photography forces us to see people before their future weighed down on them. Before they knew their endings.

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.

Photojournalism has frequently been lambasted for being the product of circumstance. In fact rarely are any of these images considered in terms of their composition and semantic intent. They are merely news, a happy intersection of event and opportunity. It hardly helps that photographs in general also take only a fraction of a second to acquire. It is incredible how so many people can constantly misread speed to mean ease. This is certainly most common where photography is concerned. However simply because anyone can buy a camera, shutter away, and then with a slightly prejudiced eye justify the product does not validate the achievement. Shooting a target with a rifle is accomplished with similar speed and yet because the results are so objective no one suggests that marksmanship is easy.

Most of what happens to us goes unremembered. The events of our life are like photographic negatives. The few that make it into the developing solution and become photographs are what we call our memories.

Trauma and pain are the foundations of art. I believe that. When tragedy strikes, however, a muralist or a watercolorist has the opportunity to be a human being in the moment and an artist afterward. Faced with the death of a loved one, a sculptor or portraitist can first grieve, suffer, and heal--then create. Most artists go through life this way. They can react normally to the trials and tribulations of the human experience. They can pass through the world with compassion and comradeship. They can make their art later. Outside, elsewhere, beyond. But photography is immediate. It does not offer the luxury of time. Faced with blood, death, or transformation, a photographer has no choice but to reach for the camera. An artist first, a human being afterward. Photography is a neutral record of all events, a chronicle of things both sublime and terrible. By necessity, this work is made without emotion, without connection, without love.

We observe few objects really closely. As we walk on the earth, we observe the external events at two or three arms' lengths. If we ride a horse or drive in an automobile, we are further separated from the immediate surround. We see and photograph "scenery"; our vast world is inadequately described as the "landscape." The most intimate object perceived daily is usually the printed page. The small and commonplace are rarely explored.

It is a cruel, ironical art, photography. The dragging of captured moments into the future; moments that should have been allowed to evaporate with the past; should exist only in memories, glimpsed through the fog of events that came after. Photographs force us to see people before their future weighed them down, before they knew their endings.

Almost every family has their own Christmas traditions (if, indeed, they celebrate Christmas) and we certainly had several. First, the house was thoroughly cleaned and decorated with wreaths and paper chains and, of course, the Christmas tree with all its sparkling lights and ornaments. The cardboard nativity scene had to be carefully assembled and placed on the mantle. And there was the advent wreath with its little windows to be opened each morning. And then there were the Christmas cookies. About a week before the holiday, Mom would bake several batches of the cookies and I invited all my friends to come and help decorate them. It was an “all-afternoon” event. We gathered around our big round dining table with bowls of colored icing and assorted additions—red hot candies, coconut flakes, sugar “glitter,” chocolate chips, and any other little bits we could think of. Then, the decorating began!

Any moment which is not captured is loss in events of time.

Getting away from the media was the first step of breaking away from the crowds, and let me clearly state, not in 1 day, 5 days, 10 days but in 4-5 months, I started to feel relief in myself, and I had the ability to think more positively about the things I experienced. I know that there are millions of people around me who believe that following current events and knowing them, as I did once, is an important thing. Besides, I also know that they are the millions of people who have not been able to build their own world yet.

Other people used photographs as a way to keep close to the events of their lives; she had used them as a way to stand apart. She had never looked at the Kitchen Counter series and remembered the days before and after, the grocery shopping or the leftovers in the refrigerator, didn't look at the photographs of Ben's action figures or even the plateau of his baby back and think of which toys he'd preferred or when those faint dimples at the base of his spine had given way to the firmer flesh of childhood. She'd denatured parts of her own existence by printing and framing and freezing them.

My studio team and I approached the creation of this series with enthusiasm, wit, sincerity and sometimes more than a dash of humour. Is the result just another foray into the clichés of Orientalism? I think not. For the most part the people photographed became co-conspirators in our elaborate game of recreating reality. They enjoyed chai with us and a morning samosa (we most always shoot in the early morning since it is the best time to utilize available light). Our models were indeed “posed and paid”, but they cooperated by suggesting so many things themselves… eagerly grasping the process we were undertaking and joining in the creation of what generally became more than just a photo shoot. Each session in the studio became an “event”…an episode of manufactured expression in which all participated and all remembered.

This is why, where art is concerned, the most interesting thing would be to infiltrate the spongiform encephalon of the modern spectator, For this is where the mystery lies today: in the brain of the receiver, at the nerve centre of this servility before 'works of art'. What is the secret of it? In the complicity between the mortification 'creative artists' inflict on objects and themselves, and the mortification consumers inflict on themselves and their mental faculties. Tolerance for the worst of things has clearly increased considerably as a function of this general state of complicity. Interface and performance - these are the two current leitmotifs. In performance, all the forms of expression merge - the plastic arts, photography, video, installation, the interactive screen. This vertical and horizontal, aesthetic and commercial diversification is henceforth part of the work, the original core of which cannot be located. A (non-) event like The Matrix illustrates this perfectly: this is the very archetype of the global installation, of the total global fact: not just the film, which is, in a way, the alibi, but the spin-offs, the simultaneous projection at all points of the globe and the millions of spectators themselves who are inextricably part of it. We are all, from a global, interactive point of view, the actors in this total global fact.

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Candid photography has taken the world by storm, and Hyderabad, with its vibrant culture and rich traditions, is no exception. In a city where every corner seems to have a story to tell, candid photographers in Hyderabad play a crucial role in capturing the moments that often go unnoticed. Candid photograpers in Hyderabad has become immensely popular in recent years, and Hyderabad is no stranger to this trend. The allure of candid photography lies in its ability to capture genuine, unscripted moments. Unlike traditional posed photography, candid photography aims to document the raw emotions and authentic interactions that occur during events, such as weddings, parties, and cultural celebrations. Hyderabad's rich tapestry of traditions, festivals, and cultural events provides the perfect backdrop for candid photographers to work their magic. The technical aspects of photography are equally important. Candid photographers in Hyderabad need to be proficient in handling various camera equipment, including high-quality lenses and accessories.

Candid photography has taken the world by storm, and Hyderabad, with its vibrant culture and rich traditions, is no exception. In a city where every corner seems to have a story to tell, candid photographers in Hyderabad play a crucial role in capturing the moments that often go unnoticed. Candid photograper in Hyderabad has become immensely popular in recent years, and Hyderabad is no stranger to this trend. The allure of candid photography lies in its ability to capture genuine, unscripted moments. Unlike traditional posed photography, candid photography aims to document the raw emotions and authentic interactions that occur during events, such as weddings, parties, and cultural celebrations. Hyderabad's rich tapestry of traditions, festivals, and cultural events provides the perfect backdrop for candid photographers to work their magic. The technical aspects of photography are equally important. Candid photographers in Hyderabad need to be proficient in handling various camera equipment, including high-quality lenses and accessories.

What the photograph reproduces to infinity has occurred only once: The photograph mechanically repeats what could never be repeated existentially. In the photograph, the event is never transcended for the sake of something else: The photograph always leads the corpus I need back to the body I see.

In a city as diverse and culturally rich as Hyderabad, the demand for professional photographers has never been higher. From capturing timeless moments at weddings and documenting corporate events to creating stunning fashion portfolios and commercial campaigns, professional photographers in Hyderabad play a vital role in preserving memories and promoting businesses. Professional photographers in Hyderabad are not just individuals with cameras; they are visual storytellers, artists, and technicians. Their primary role is to use their expertise in photography to capture moments, emotions, and subjects in a way that conveys a specific message or narrative. One of the key aspects of professional photography is the ability to understand and cater to the specific needs of clients. This requires effective communication, as photographers must work closely with their clients to ensure that the final images align with their expectations.

BEST WEDDING PHOTOGRAPHY IN HYDERABAD Couples are seeking not just ordinary photography, but the best wedding photography that can transform their special day into timeless memories. This essay explores the world of wedding photography in Hyderabad, delving into the factors that make it stand out and the talented photographers who excel in capturing these moments. Wedding photography is not merely about taking pictures; it is about freezing moments in time, preserving emotions, and telling a story. In Hyderabad, where weddings are grand affairs with elaborate rituals and vibrant colors, the role of a wedding photographer becomes even more significant. The photographer is entrusted with the task of capturing the essence of the event, from the excitement of the pre-wedding ceremonies to the solemnity of the vows and the exuberance of the post-wedding celebrations. A skilled wedding photographer can turn these moments into works of art that will be cherished for generations.

Something that I consider ‘my invention’, since I haven’t seen it done anywhere before is ‘Super-speed photography’. Now normal high-speed photography involves either a very fast camera at a high frame rate or the act of ‘freezing’ the motion using flash, while the actual exposure is actually quite long. For much of my high-speed photography with flash I was using shutter speeds of two seconds to give me time to break or shoot whatever my subject was and trigger the flash with a sound activated device. But then I started playing with the idea of using the flash trigger of the camera to actually cause the event.

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

What makes Capa a great photo journalist?" asks a reporter covering a 1998 retrospective of his work. "We see his own appetite for life, his mix of urgency with compassion . . . the artistic thrust of his photography always had more to do with its emotional pitch, which remained genuine and deeply felt." Or, in Capa's own words, a great picture "is a cut out of the whole event which will show more of the real truth of the affair to some one who was not there than the whole scene.

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The art of photography is all about capturing emotions not events.

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.

There is some feeling nowadays that reading is not as necessary as it once was. Radio and especially television have taken over many of the functions once served by print, just as photography has taken over functions once served by painting and other graphic arts. Admittedly, television serves some of these functions extremely well; the visual communication of news events, for example, has enormous impact. The ability of radio to give us information while we are engaged in doing other things—for instance, driving a car—is remarkable, and a great saving of time. But it may be seriously questioned whether the advent of modern communications media has much enhanced our understanding of the world in which we live. Perhaps we know more about the world than we used to, and insofar as knowledge is prerequisite to understanding, that is all to the good. But knowledge is not as much a prerequisite to understanding as is commonly supposed. We do not have to know everything about something in order to understand it; too many facts are often as much of an obstacle to understanding as too few. There is a sense in which we moderns are inundated with facts to the detriment of understanding. One of the reasons for this situation is that the very media we have mentioned are so designed as to make thinking seem unnecessary (though this is only an appearance). The packaging of intellectual positions and views is one of the most active enterprises of some of the best minds of our day. The viewer of television, the listener to radio, the reader of magazines, is presented with a whole complex of elements—all the way from ingenious rhetoric to carefully selected data and statistics—to make it easy for him to “make up his own mind” with the minimum of difficulty and effort. But the packaging is often done so effectively that the viewer, listener, or reader does not make up his own mind at all. Instead, he inserts a packaged opinion into his mind, somewhat like inserting a cassette into a cassette player. He then pushes a button and “plays back” the opinion whenever it seems appropriate to do so. He has performed acceptably without having had to think.

Included with the basic package is five hour reception coverage, a photo montage at the beginning of the video, and a highlight recap at the end. The photo montage includes up to 25 customer supplied pictures and an invitation, set to music along with titling and serves as the opening to the video. The photo montage is prepared ahead of time, days before the reception but it is not intended to be shown at the reception. Rather it is intended to be a professional quality introduction to the your fully edited video and it will distinguish your work from that of non-professionals. The highlight recap is similar to the photo montage as they are both set to music, but the recap is composed of short snippets of video that you shot from the event, rather than photos that were supplied by the customer. The finished edited video is comprised of three main parts; the photo montage, the main body, and the highlight recap. The entire video is typically two hours in duration.

Rarely can they claim to be simply a mirror of events. Like eyewitness reports, images deliver an interpretation of an event from a specific perspective: subjective, sometimes partisan, sometimes manipulative. Anyone who believes a photograph captures "reality" is naïve. Why a picture was taken, who distributed it, what their intention was - these questions must be asked again and again. Photographs can only speak to us only after we have mistrusted and challenged them.

Name: Ava Mage Sign: Virgo Birthday: September 21st Pronouns: She/her Sexuality: Straight Appearance: [ Mackenzie Foy Net (hide spoiler)] Face Claim: Mackenzie Foy Personality: She's generally outgoing and somewhat hyper. She's quiet when she's upset and is a good listener. Because of her past she gets triggered by certain smells like stale alcohol or cigarette smoke. She loves being outside and in nature, especially camping. She is loyal to those she loves and will never let you down. History: Ava Mage was born on September 21st and put straight into the foster care system where she was her entire life until she emancipated at 16. Each household she was in got progressively worse as she got older. As soon as she got out of the system she learned self defense so she would never be taken advantage of again. She bounced around for a little while not really making any friends. She's found a place to settle down and is an event planner/photographer. Likes: Photography Cheesecake Camping Hiking Coffee Dancing Fall Animals Reading Dislikes: Green beans controlling people Love language: Words of affirmation/gift giving/ physical touch Style:[ Drink Coffee Read Books Be Happy Sweatshirt Book Shirt - Etsy (hide spoiler)

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Most of what happens to us goes unremembered. The events of our lives are like photographic negatives. The few that make it into the developing solution and become photographs are what we call our memories.

Photography, because it preserves the appearance of an event or a person, has always been closely associated with the idea of the historical. The ideal of photography aesthetics apart, is to seize an “historic” moment. But Paul Strand’s relation as a photographer to the historic is a unique one. His photographs convey a unique sense of duration. The I am is given it’s time in which to reflect on the past and to anticipate its future: the exposure time does no violence to the time of the I am: on the contrary, one has the strange impression that the exposure time is the lifetime.

Lichtenberg speaks, in one of his aphorisms, Of a tremor: any act, even an exact one, is preceded by a trembling, a haziness of gesture, and it always retains something of it. When this haziness, this tremor, does not exist, when an act is purely operational and is perfectly focused, we are on the verge of madness. And the true image is the one that accounts for this trembling of the world, whatever the situation or the object, whether it be a war photo or a still life, a landscape or a portrait, an art photo or reportage. At that stage, the image is something that is part of the world, that is caught up in the same becoming, in the metamorphosis of appearances. A fragment of the hologram of the world, in which each detail is a refraction of the whole. The peculiar role of photography is not to illustrate the event, but to constitute an event in itself. Logic would demand that the event, the real, occur first and that the image come after to illustrate it. This is, unfortunately, the case most of the time. A different sequence demands that the event should never exactly take place, that it should remain in a sense a stranger to itself. Something of that strangeness doubtless survives in every event, in every object, in every individual. This is what the image must convey. And, to do so, it must also remain in a sense a stranger to itself; must not conceive itself as medium, not take itself for an image; must remain a fiction and hence echo the unaccountable fiction of the event; must not be caught in its own trap or let itself be imprisoned in the image-feedback.

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Taco Hidde Bakker: (quoting a sentence from Schles' book "Oculus") Further on you write, decidedly, “Seeing is not knowing. Recognition is not knowledge”. […] Muses are the origin of knowledge. Almost everything one knows and is able to know nowadays, comes from hearsay, isn’t based on one’s own experiences or witnessing of events. Most of us don’t even directly witness historically decisive events (or what have come to be portrayed as such by the media) during our lifetimes. By means of the mechanisms of complex (visual) representation networks, we are second-order or even third-order witnesses. If we were to consider photography sui generis, then it is a Muse. It is virtually omnipresent, it sees everything, transmits visual evidence to people all over the globe, and enlargers their body of knowledge.

We wish for portraits of our friends, hoping to be reminded of their appearance and to renew our affections towards them. But why is the result so disappointing? In order to understand aesthetic appreciation, Wittgenstein once said, ‘I would have to explain what our photographers do today – and why it is impossible to get a decent picture of your friend even if you pay £1,000’. Because photography is understood through a causal relation to its subject, it is always, for us, the record of a moment: that sudden smile, that vanishing embrace, that flicker of a long since dead emotion. Painting aims to capture the sense of time, and to present its subject as extended in time. Portraiture is not an art of the momentary, and the true portraitist paints into the features of his sitter a whole narrative history. The causal relation which fixes the photographic image is a relation between events, and it is only by deserting his craft and taking up a pen, a brush or a pencil, that the photographer can adjust his image so as to break free of the moment. (This is surely what Brady manages in his famous portrait of Queen Emma.)

February 9: In the company of Laurence Olivier, Marilyn calls a press conference in the Terrace Room of the Plaza Hotel to announce their joint project, The Sleeping Prince (later titled The Prince and the Showgirl). Publicity shows a smiling Marilyn, flanked by Olivier on her right and Rattigan on her left, gazing at her. In front of more than 150 reporters and photographers, one of the straps on her dress breaks, setting off a flurry of photography until a safety pin repairs the strap. One shot shows the dangling pin after it comes undone—twice.

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Photography is the only "language" understood in all parts of the world, and bridging all nations and cultures, it links the family of man. Independent of political influence - where people are free - it reflects truthfully life and events, allows us to share in the hopes and despair of others, and illuminates political and social conditions. We become the eye-witnesses of the humanity and inhumanity of mankind.

I love photography because it preserves the moment.

No sophisticated sense of what photography is or can be will ever weaken the satisfactions of a picture of an unexpected event seized in mid-action by an alert photographer.

A strange, typically dark mood suffuses his images, which enmesh the viewer and entice him or her into memory and thought, fueling the imagination--as if what the image capture are moments extracted from the flow of time, that had something preceding them and themselves precede certain events: scenarios for stories.

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