I Love Photography Quotes

I used to think that I could never lose anyone if I photographed them enough. In fact, my pictures show me how much I’ve lost.

A thing that you see in my pictures is that I was not afraid to fall in love with these people.

I know the expression love bloomed is metaphorical, but in my heart in this moment, there is one badass flower, captured in time-lapse photography, going from bud to wild radiant blossom in ten seconds flat.

I remember seeing that picture and realizing that photographs weren’t real. There’s no context, just the illusion that you’re showing a snapshot of a life, but life isn’t snapshots, it’s fluid. So photos are like fictions. I loved that about them. Everyone thinks photography is truth, but it’s just a very convincing lie.

For me the noise of Time is not sad: I love bells, clocks, watches — and I recall that at first photographic implements were related to techniques of cabinetmaking and the machinery of precision: cameras, in short, were clocks for seeing, and perhaps in me someone very old still hears in the photographic mechanism the living sound of the wood.

I don't just look at the thing itself or at the reality itself; I look around the edges for those little askew moments-kind of like what makes up our lives-those slightly awkward, lovely moments.

It is said that mourning, by its gradual labour, slowly erases pain; I could not, I cannot believe this; because for me, Time eliminates the emotion of loss (I do not weep), that is all. For the rest, everything has remained motionless. For what I have lost is not a Figure (the Mother), but a being; and not a being, but a quality (a soul): not the indispensable, but the irreplaceable.

I live for my photography, but I will die to capture him in my camera.

they signaled my eternal gratitude to the boy sitting silently in the dark. The boy as gifted at photography as I was at music. He was my heart. The heart freely given to me as a child. The heart that made up one half of my own. The boy who, though breaking inside, loved me so deeply that he gave me this farewell. Gave me, in the present, the dream that my future never could. My soul mate who captured moments.

Photography has shaped the way I look at the world; it has taught me to look beyond myself and capture the world outside.

There's something about photography I love -- a whole memory caught in a moment.

I am the outcast come home to roost and the eggs of tomorrow are incubating in my fame. You hate me, you love me, you made me, and now I am in you. I am like that disease brewing in your loins and I think you like it…

I became fascinated by the notion of dispelling stereotypes or misconceptions through photography, of presenting the counterintuitive.

I photography women as I liked to fell in love of them.

It's said that in the beginning was the word, but for me the beginning is always an image. When I think about a conversation, it always starts with images. And what I love about photography is the inscription of a single moment: it's completely ephemeral. You take the photograph, and one second later, everything has changed.

My love of photography is melded with the ability to capture what I want to remember in the moment I want to never forget.

see me as your moonlight and you're the sky, i'm the satellite orbiting through your night

without your colors, my world would always be like night, it would be so much colder, so dark and colorless...i'd be living in a black and white picture where all the flowers have closed up

But I have to do something, and at least this feels like action. All those plans I had—photography courses and cookery classes—when it comes down to it, they feel a bit pointless, as if I’m playing at real life instead of actually living it. I need to find something that I must do, something undeniable. I can’t do this, I can’t just be a wife. I don’t understand how anyone does it—there is literally nothing to do but wait. Wait for a man to come home and love you. Either that or look around for something to distract you.

And this is why I love photography, I thought. It could pull out emotion, raw emotion, from a split second in time.

We quickly became friends with other art faculty members such as the ceramist Jim Leedy and his wife Jean and art historian/artist Bill Kortlander and his wife Betty. I also began taking classes in Southeast Asian history with John Cady, who had resigned from his position at the U.S.[CB4] [mo5]  State Department because he thought it would be a huge mistake to get involved in a “land war in Southeast Asia.” In 1966, his warnings were starting to become all too obvious as the Vietnam war grew and protests against it emerged. Dr. Cady was in the thick of the protests and was even being shadowed by the F.B.I. After I finished my BFA in art in 1966, I began work on a master’s degree in history at Dr. Cady’s urging. He and his wife became frequent guests at our parties

i found my flower, there she was, she caught my eye and captured my heart. i listened to her...she called out to me with her colors and warmth, held me with her softness and beauty, silently asking only that i let her grow, and let her be, and love her for who she was: my flower

yeah, sure, the sun will age my skin, and all these giggles and smiles with you will, over time, will crack up my face and give me wrinkles...sunshine, giggles, smiles, you? that's happiness, baby i'm living!

When I make a picture, I make love.

A boy in the schoolyard handing out the very same love-letter to a bunch of girls. This is what I think of ‘limited editions’ in art photography.

There’s this family photo,” he says, “not the one in the hall, this other one, from back when I was six or seven. That day was awful. Muriel put gum in David’s book and I had a cold, and my parents were fighting right up until the flash went off. And in the photo, we all look so … happy. I remember seeing that picture and realizing that photographs weren’t real. There’s no context, just the illusion that you’re showing a snapshot of a life, but life isn’t snapshots, it’s fluid. So photos are like fictions. I loved that about them. Everyone thinks photography is truth, but it’s just a very convincing lie.

My mom absolutely LOVED all things English, so it’s not too surprising that she loved English tea parties. When she and I traveled—which was frequently—we often found ourselves in locations (Vancouver, Ottawa, London, Bath, Cardiff, to name a few) where we could take advantage of that lovely English custom of “taking tea.” So, for a special surprise party, I invited a dozen of Mom’s Gainesville friends to “take tea” with us. Even though it was December, it was warm enough to use the screen porch and the deck. That’s the “Florida advantage!

Photography has shaped the way I look at the world; it has taught me to look beyond myself and capture the world outside. It’s also taught me to cherish the life I return to when I put the camera down. My work makes me better able to love my family and laugh with my friends.

The Winter Photograph was my Ariadne, not because it would help me discover a secret thing (monster or treasure), but because it would tell me what constituted that thread which drew me toward Photography. I had understood that henceforth I must interrogate the evidence of Photography, not from the viewpoint of pleasure, but in relation to what we romantically call love and death.

I was deep in a dream about photography-walking through a strange city with buildings that stretched so high they disappeared into the clouds. And every time I took a picture of one, it shivered and changed into something else. A sound came from a building behind me-a soft song. I started to walk toward it's open doors, but they closed. I would have to climb in a window- and then I woke up.

But I've always been a sucker for externals alone: the shape, the shine, what the surface suggests to my palm. So mechanically disinclined it's verging on criminal, I never understood the beauty of an object's workings until Linny sat my reluctant self down one day and showed me her camera. Within fifteen minutes, I had fallen hard for the whole gadgety, eyelike nature of the thing: a tiny piece of glass slowing, bending, organizing light - light - into your grandmother, the Grand Canyon, the begonia on the windowsill, the film keeping the image like a secret. Grandmother, canyon, begonia tucked neatly into the sleek black box, like bugs in a jar. My mind boggled.

The thing I love about photography is that for just a moment, you can make everyone else look at the world the way you see it.

Photography is especially good at enabling us to see the world from an animal’s point of view. It’s one of the reasons I love photography.

…I was reminded of how much I love photography. The chance to capture a moment of time, forever.

I learned to cook by helping my mother in the kitchen. I assisted her with the canning, and she began assigning me some other tasks like making salad dressing or kneading dough for bread. My first attempt at preparing an entire dinner¾the menu included pork chops Hawaiian, which called for the pork to be marinated in papaya nectar, ginger, cumin, and other spices before being grilled with onions and pineapple cubes¾required an extensive array of exotic ingredients. When he saw my grocery list, my father commented, “I hope she marries a rich man.

Nights I stay up writing about you, wondering where you've gone, my heart doesn't understand your absence, I do my best to reassure, but its erratic beating tells me it doesn't believe my lies.

Technique undoubtedly helps make photography magical, but I prefer to work with atmosphere. I think that the obsession with technique is a male thing. Boy's toys. They love playing.. but once you've perfected something, you have start searching for a new toy. I would rather search for a new model or location.

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.

I watched him as he lined up the ships in bottles on his deck, bringing them over from the shelves where they usually sat. He used an old shirt of my mother's that had been ripped into rags and began dusting the shelves. Under his desk there were empty bottles- rows and rows of them we had collected for our future shipbuilding. In the closet were more ships- the ships he had built with his own father, ships he had built alone, and then those we had made together. Some were perfect, but their sails browned; some had sagged or toppled over the years. Then there was the one that had burst into flames in the week before my death. He smashed that one first. My heart seized up. He turned and saw all the others, all the years they marked and the hands that had held them. His dead father's, his dead child's. I watched his as he smashed the rest. He christened the walls and wooden chair with the news of my death, and afterward he stood in the guest room/den surrounded by green glass. The bottle, all of them, lay broken on the floor, the sails and boat bodies strewn among them. He stood in the wreckage. It was then that, without knowing how, I revealed myself. In every piece of glass, in every shard and sliver, I cast my face. My father glanced down and around him, his eyes roving across the room. Wild. It was just for a second, and then I was gone. He was quiet for a moment, and then he laughed- a howl coming up from the bottom of his stomach. He laughed so loud and deep, I shook with it in my heaven. He left the room and went down two doors to my beadroom. The hallway was tiny, my door like all the others, hollow enough to easily punch a fist through. He was about to smash the mirror over my dresser, rip the wallpaper down with his nails, but instead he fell against my bed, sobbing, and balled the lavender sheets up in his hands. 'Daddy?' Buckley said. My brother held the doorknob with his hand. My father turned but was unable to stop his tears. He slid to the floor with his fists, and then he opened up his arms. He had to ask my brother twice, which he had never to do do before, but Buckley came to him. My father wrapped my brother inside the sheets that smelled of me. He remembered the day I'd begged him to paint and paper my room purple. Remembered moving in the old National Geographics to the bottom shelves of my bookcases. (I had wanted to steep myself in wildlife photography.) Remembered when there was just one child in the house for the briefest of time until Lindsey arrived. 'You are so special to me, little man,' my father said, clinging to him. Buckley drew back and stared at my father's creased face, the fine bright spots of tears at the corners of his eyes. He nodded seriously and kissed my father's cheek. Something so divine that no one up in heaven could have made it up; the care a child took with an adult. 'Hold still,' my father would say, while I held the ship in the bottle and he burned away the strings he'd raised the mast with and set the clipper ship free on its blue putty sea. And I would wait for him, recognizing the tension of that moment when the world in the bottle depended, solely, on me.

Since then he had taken these photos out too many times to count, but each time he looked into the face of this woman he had felt something growing inside him. It took him a long time to realize what it was. Only recently had his wounded synapses allowed him to name it. He had been falling in love all over again. He didn't understand how two people who were married, who saw each other every day, could forget what each other looked like, but if he had had to name what had happened- this was it. And the last two photos in the roll provided the key. He had come home from work- I remember trying to keep my mother's attention as Holiday barked when he had heard the car pull into the garage. 'He'll come out,' I said. 'Stay still.' And she did. Part of what I loved about photography was the power it gave me over the people on the other side of the camera, even my own parents. Out of the corner of my eye I saw my father walk through the side door into the yard. He carried his slim briefcase, which, years before, Lindsey and I had heatedly investigated only to find very little of interest to us. As he set it down I snapped the last solitary photo of my mother. Already her eyes had begun to seem distracted and anxious, diving under and up into a mask somehow. In the next photo, the mast was almost, but not quite, in place and in the final photo, where my father was leaning slightly down to give her a kiss on the cheek- there it was. 'Did I do that to you?' he asked her image as he stared at the pictures of my mother, lined up in a row. 'How did that happen?' ~pgs 239-240; Mr. Salmon dealing with the three c's (for families of addicts)- Cause (you didn't cause it), Control (you can't control it), and Cure (you can't cure it)

i look up in hope, dreaming to be brightened up, and begotten out of this hazy funk, and suddenly, i see my light glowing high above me, she is warming certainty wearing her angelic halo, as my spirits rise up to kiss her, i smile clearly

It’s that time of the month again… As we head into those dog days of July, Mike would like to thank those who helped him get the toys he needs to enjoy his summer. Thanks to you, he bought a new bass boat, which we don’t need; a condo in Florida, where we don’t spend any time; and a $2,000 set of golf clubs…which he had been using as an alibi to cover the fact that he has been remorselessly banging his secretary, Beebee, for the last six months. Tragically, I didn’t suspect a thing. Right up until the moment Cherry Glick inadvertently delivered a lovely floral arrangement to our house, apparently intended to celebrate the anniversary of the first time Beebee provided Mike with her special brand of administrative support. Sadly, even after this damning evidence-and seeing Mike ram his tongue down Beebee’s throat-I didn’t quite grasp the depth of his deception. It took reading the contents of his secret e-mail account before I was convinced. I learned that cheap motel rooms have been christened. Office equipment has been sullied. And you should think twice before calling Mike’s work number during his lunch hour, because there’s a good chance that Beebee will be under his desk “assisting” him. I must confess that I was disappointed by Mike’s over-wrought prose, but I now understand why he insisted that I write this newsletter every month. I would say this is a case of those who can write, do; and those who can’t do Taxes. And since seeing is believing, I could have included a Hustler-ready pictorial layout of the photos of Mike’s work wife. However, I believe distributing these photos would be a felony. The camera work isn’t half-bad, though. It’s good to see that Mike has some skill in the bedroom, even if it’s just photography. And what does Beebee have to say for herself? Not Much. In fact, attempts to interview her for this issue were met with spaced-out indifference. I’ve had a hard time not blaming the conniving, store-bought-cleavage-baring Oompa Loompa-skinned adulteress for her part in the destruction of my marriage. But considering what she’s getting, Beebee has my sympathies. I blame Mike. I blame Mike for not honoring the vows he made to me. I blame Mike for not being strong enough to pass up the temptation of readily available extramarital sex. And I blame Mike for not being enough of a man to tell me he was having an affair, instead letting me find out via a misdirected floral delivery. I hope you have enjoyed this new digital version of the Terwilliger and Associates Newsletter. Next month’s newsletter will not be written by me as I will be divorcing Mike’s cheating ass. As soon as I press send on this e-mail, I’m hiring Sammy “the Shark” Shackleton. I don’t know why they call him “the Shark” but I did hear about a case where Sammy got a woman her soon-to-be ex-husband’s house, his car, his boat and his manhood in a mayonnaise jar. And one last thing, believe me when I say I will not be letting Mike off with “irreconcilable differences” in divorce court. Mike Terwilliger will own up to being the faithless, loveless, spineless, useless, dickless wonder he is.

She loves filming and taking photographs. I can imagine her making beautiful films in France or India or somewhere with a gorgeously colourful culture. She somehow reminds me of my favourite place in the world, she and Paris I can romanticize and immortalize in ceaseless poetry for the rest of my life.

photos are like fictions. I loved that about them. Everyone thinks photography is truth, but it’s just a very convincing lie.

There’s something about photography I love. A whole memory, caught in a moment.” “That’s very well put.

So photos are like fictions. I loved that about them. Everyone thinks photography is truth, but its just a very convincing lie.

I love when I capture moments of expression.

love and understanding are one into the same. without love, there is no understanding, and without understanding, there can be no love

before you,  i stand, and  i realize, that  i never knew how good life was,  before you

the tree tops whisper your name when i'm missing you the most. your shadow is observing me... it all reminds me how much more my life glows in your presence

how can you be holding me from doing what i want to do, when all i want to do is hold you?

There’s no context, just the illusion that you’re showing a snapshot of a life, but life isn’t snapshots, it’s fluid. So photos are like fictions. I loved that about them. Everyone thinks photography is truth, but it’s just a very convincing lie.” “Why did you stop?” Because time doesn’t work like photos. Click, and it stays still. Blink, and it leaps forward.

Stay in Latin America, learn photography, and make all your professional mistakes in Argentina,” he said, “because if you make one mistake in New York, no one will give you a second chance.

I was hoping his camera didn't fall with him, because that would have been a real waste, you know? To die because of your love of photography, but you didn't even get the final shot that cost you your life?". -pg 11

i ask you, what are you into? ...whatever it is, get into it, totally jump all the way into it, experience everything you can, learn and love...and then transcend through it, and find your other side in this life, don't wait

Artist communities love to bullshit each other and glad-hand one another, and there's no room for the crippling honesty of comedy. "I'm a painter" -- well... you don't...probably need to do that. . . . if you're painting something that doesn't exist, I understand that, I can appreciate- . . . but if your pain- 'oh, it's a barnyard scene in autumn'--well then just take a picture of a barn in autumn! It's way better than a painting! - Before Turning the Gun on Himself [2012]

when i was a little boy, i needed my speedracer nightlight plugged into its wall outlet next to the bed to keep me calm in the darkness, so i could relax and fall asleep...now as a grown man, i find that i am no different, just my nightlight is now a person

And I have come to understand the truth of what Ansel Adams said that you don’t make a photograph just with a camera but that you bring to the act all the pictures you have seen, the books you have read, the music you have heard and the people you have loved.

photographs weren’t real. There’s no context, just the illusion that you’re showing a snapshot of a life, but life isn’t snapshots, it’s fluid. So photos are like fictions. I loved that about them. Everyone thinks photography is truth, but it’s just a very convincing lie.

this beautiful bird, a little yellow-breasted finch, landed on my windowsill...she just stopped my time flow...i looked at her, for i could see nothing else mattered in that moment, and she looked directly at me, and then turned her head slightly sideways, and then quickly back...she then sang to me a wonderful melody of tweets and chirps in harmony with the sound of sunshine glowing through her feathers...her wild and innocent essence warmed all my senses, to my core...and all of a sudden with an assured certainty, i knew everything was going to be alright

i had a dream of you last night, i was all alone in the desert, surrounded by darkness on a desolate playa, and then you came to me and gave me light, you were the moon...i knew it was you, for you were the brightest of all the heavenly bodies, and something of this sort of certainty come but once in a lifetime

I have always loved being behind the camera. I love how it sets you apart in a crowd, so that you can float at the edges, pausing only occasionally to capture a moment. In its own way it’s easier than writing. As a writer, I have to know people, to talk to them, to barge into silences with a dozen of those little lighthearted quips that lead up to a conversation. And even then, they’re guarded around you. Nobody wants their drunken conversation written down somewhere. Being a photographer is different. People come to you. They smile. They flirt. They make sure you see only their best side. Nobody wants to upset the camera.

remember seeing that picture and realizing that photographs weren’t real. There’s no context, just the illusion that you’re showing a snapshot of a life, but life isn’t snapshots, it’s fluid. So photos are like fictions. I loved that about them. Everyone thinks photography is truth, but it’s just a very convincing lie.

December 25, 4:30 p.m. Dear America, It’s been seven hours since you left. Twice now I’ve started to go to your room to ask how you liked your presents and then remembered you weren’t here. I’ve gotten so used to you, it’s strange that you aren’t around, drifting down the halls. I’ve nearly called a few times, but I don’t want to seem possessive. I don’t want you to feel like I’m a cage to you. I remember how you said the palace was just that the first night you came here. I think, over time, you’ve felt freer, and I’d hate to ruin that freedom, I’m going to have to distract myself until you come back. I decided to sit and write to you, hoping maybe it would feel like I was talking to you. It sort of does, I can imagine you sitting here, smiling at my idea, maybe shaking your head at me as if to say I’m being silly. You do that sometimes, did you know? I like that expression on you. You’re the only person who wears it in a way that doesn’t come across like you think I’m completely hopeless. You smile at my idiosyncrasies, accept that they exist, and continue to be my friend. And, in seven short hours, I’ve started to miss that. I’ve wonder what you’ve done in that time. I’m betting by now you’ve flown across the country, made it to your home, and are safe. I hope you are safe. I can’t imagine what a comfort you must be to your family right now. The lovely daughter has finally returned! I keep trying to picture you home. I remember you telling me it was small, that you had a tree house, and that your garage was where you father and sister did all their work. Beyond that I’ve had to resort to my imagination. I imagine you curled up in a hug with you sister or kicking around a ball with your little brother. I remember that, you know? That you said he liked to play ball. I tried to imagine walking into your house with you. I would have liked that, to see you where you grew up. I would love to see you brother run around or be embraced by your mother. I think it would be comforting to sense the presence of people near you, floorboards creaking and doors shutting. I would have liked to sit in one part of the house and still probably be able to smell the kitchen. I’ve always imagined that real homes are full of the aromas of whatever’s being cooked. I wouldn’t do a scrap of work. Nothing having to do with armies or budgets or negotiations. I’d sit with you, maybe try to work on my photography while you played the piano. We’d be Fives together, like you said. I could join your family for dinner, talking over one another in a collection of conversations instead of whispering and waiting our turns. And maybe I’d sleep in a spare bed or on the couch. I’d sleep on the floor beside you if you’d let me. I think about that sometimes. Falling asleep next to you, I mean, like we did in the safe room. It was nice to hear your breaths as they came and went, something quiet and close keeping me from feeling so alone. This letter has gotten foolish, and I think you know how I detest looking like a fool. But still I do. For you. Maxon

I had a dream about you last night. We were in your old Civic. Nine Inch Nails was turned up on the stereo and I was taking pictures of you behind the wheel with my disposable camera. We went through the drive through at El Pollo Loco, placed an order for a hundred bucks worth of food, and then just drove off at the window. I miss being stupid with you.

In the photo, we all look so . . . happy. I remember seeing that picture and realizing that photographs weren't real. There's no context, just the illusion that you're showing a snapshot of a life, but life isn't snapshots, it's fluid. So photos are like fictions. I loved that about them. Everyone thinks photography is truth, but it's just very convincing lie.

And in the photo, we all look so … happy. I remember seeing that picture and realizing that photographs weren’t real. There’s no context, just the illusion that you’re showing a snapshot of a life, but life isn’t snapshots, it’s fluid. So photos are like fictions. I loved that about them. Everyone thinks photography is truth, but it’s just a very convincing lie.

Now give me some advice about how to take full advantage of this city. I’m always looking to improve my odds.” “Just what I’d expect from a horny actuary.” “I’m serious.” Carlos reflected for a moment on the problem at hand. He actually had never needed or tried to take full advantage of the city in order to meet women, but he thought about all of his friends who regularly did. His face lit up as he thought of some helpful advice: “Get into the arts.” “The arts?” “Yeah.” “But I’m not artistic.” “It doesn’t matter. Many women are into the arts. Theater. Painting. Dance. They love that stuff.” “You want me to get into dance? Earthquakes have better rhythm than me…And can you really picture me in those tights?” “Take an art history class. Learn photography. Get involved in a play or an independent film production. Get artsy, Sammy. I’m telling you, the senoritas dig that stuff.” “Really?” “Yeah. You need to sign up for a bunch of artistic activities. But you can’t let on that it’s all just a pretext to meet women. You have to take a real interest in the subject or they’ll quickly sniff out your game.” “I don’t know…It’s all so foreign to me…I don’t know the first thing about being artistic.” “Heeb, this is the time to expand your horizons. And you’re in the perfect city to do it. New York is all about reinventing yourself. Get out of your comfort zones. Become more of a Renaissance man. That’s much more interesting to women.

And in the photo, we all look so . . . happy. I remember seeing that picture and realizing that photographs weren’t real. There’s no context, just the illusion that you’re showing a snapshot of a life, but life isn’t snapshots, it’s fluid. So photos are like fictions. I loved that about them. Everyone thinks photography is truth, but it’s just a very convincing lie.

Like I told you, Sam and Patrick love their big song, so I thought I'd read it to have something to discuss with them. In the end, the magazine compared him with John Lennon from the Beatles. I told that to Sam later, and she got really mad. She said he was like Jim Morrison if he was like anybody, but really, he isn't like anybody but himself. We were all at the Big Boy after Rocky Horror, and it started this big discussion. Craig said the problem with things is that everyone is always comparing everyone with everyone and because of that, it discredits people, like in his photography classes. Bob said that it was all about our parents not wanting to let go of their youth and how it kills them when they can't relate to something. Patrick said that the problem was that since everything has happened already, it makes it hard to break new ground. Nobody can be as big as the Beatles because the Beatles already gave it a "context." The reason they were so big is that they had no one to compare themselves with, so the sky was the limit. Sam added that nowadays a band or someone would compare themselves to the Beatles after the second album, and their own personal voice would be less from that moment on.

If I like a photograph, if it disturbs me, I linger over it. What am I doing, during the whole times I remain with it? I look at it, I scrutinize it, as if I wanted to know more about the thing or the person it represents... I want to outline the loved face by thought, to make it into the unique field of an intense observation; I want to enlarge this face in order to see it better, to understand it better, to know its truth.

Muriel put gum in David’s book and I had a cold, and my parents were fighting right up until the flash went off. And in the photo, we all look so … happy. I remember seeing that picture and realizing that photographs weren’t real. There’s no context, just the illusion that you’re showing a snapshot of a life, but life isn’t snapshots, it’s fluid. So photos are like fictions. I loved that about them. Everyone thinks photography is truth, but it’s just a very convincing lie.

That day was awful. Muriel put gum in David's book and I had a cold, and my parents were fighting right up until the flash went off. And in the photo, we all look so....happy. I remember seeing that picture and realizing that photographs weren't real. There's no context, just the illusion that you're showing a snapshot of a life, but life isn't snapshots, it's fluid. So photo's are like fictions. I loved that about them. Everyone thinks photography is truth, but it's just a very convincing lie.

But I have to do something, and at least this feels like action. All those plans I had—photography courses and cookery classes—when it comes down to it, they feel a bit pointless, as if I’m playing at real life instead of actually living it. I need to find something that I must do, something undeniable. I can’t do this, I can’t just be a wife. I don’t understand how anyone does it—there is literally nothing to do but wait. Wait for a man to come home and love you. Either that or look around for something to distract you

There’s this family photo,” he says, “not the one in the hall, this other one, from back when I was six or seven. That day was awful. Muriel put gum in David’s book and I had a cold, and my parents were fighting right up until the flash went off. And in the photo, we all look so … happy. I remember seeing that picture and realizing that photographs weren’t real. There’s no context, just the illusion that you’re showing a snapshot of a life, but life isn’t snapshots, it’s fluid. So photos are like fictions. I loved that about them. Everyone thinks photography is truth, but it’s just a very convincing lie.

There's this family photo," he says, "not the one in the hall, this other one, from back when I was six or seven. That day was awful. Muriel put gum in David's book and I had a cold, and my parents were fighting right up until the flash went off. And in the photo, we all look so . . . happy. I remember seeing that picture and realizing that photographs weren't real. There's no context, just the illusion that you're showing a snapshot of a life, but life isn't snapshots, it's fluid. So photos are like fictions. I loved that about them. Everyone thinks photography is truth, but it's just a very convincing lie.

All the pictures in this book are authentic, vintage found photographs, and with the exception of a few that have undergone minimal postprocessing, they are unaltered. They were lent from the personal archives of ten collectors, people who have spent years and countless hours hunting through giant bins of unsorted snapshots at flea markets and antiques malls and yard sales to find a transcendent few, rescuing images of historical significance and arresting beauty from obscurity—and, most likely, the dump. Their work is an unglamorous labor of love, and I think they are the unsung heroes of the photography world.

She was my champion. She was my archive. She had taken the utmost care to preserve the evidence of my existence and growth. Capturing me in images. Saving all my documents and possessions. She had all knowledge of my being memorized. The time I was born. My unborn cravings. The first book I read. The formation of every characteristic. Every ailment and little victory. She observed me with unparalleled interest. Inexhaustible devotion. Now that she was gone, there was no one left to ask about these things. The knowledge left unrecorded died with her. What remained were documents and my memories. And now it was up to me to make sense of myself, aided by the signs she left behind. How cyclical and bittersweet, for a child to retrace the image of their mother. For a subject to turn back to document the archivist… The memories I had stored, I could not let fester. Could not let trauma infiltrate and spread to spoil and render them useless. They were moments to be tended. The culture we shared was active, effervescent in my gut and in my genes and I had to seize it, foster it, so it did not die in me, so that I could pass it on someday. The lessons she imparted, the proof of her life lived on in me in my every move and deed. I was what she left behind. If I could not be with my mother, I would be her.

Every relation between forms in a painting is to some degree adaptable to the painter's purpose. This is not the case with photography. Composition in the profound, formative sense of the word cannot enter into photography. The true content of a photograph is invisible, for it derives from a play, not with form, but with time. One might argue that photography is as close to music as to painting. I have said that a photograph bears witness to a human choice being exercised. The choice is not between photographing X and Y: but between photographing at X moment or at Y moment. The objects recorded in any photograph (from the most effective to the most commonplace) carry approximately the same weight, the same conviction. What varies is the intensity with which we are made aware of the poles of absence and presence. A photograph, while recording what has been seen, always and by its nature refers to what is not seen. It isolates, preserves, and presents a moment taken from a continuum. The only decision (the still photographer) can take is as regards the moment he chooses to isolate. Yet this apparent limitation gives the photograph its unique power. The immediate relation between what is present and what is absent is particular to each photograph: it may be that of ice to sun, of grief to tragedy, of a smile to a pleasure, of a body to love, of a winning race-horse to the race it has run.

In a few words, since by nature and professional training he was more inclined to listen attentively than to talk, he told her that for some time he had not found employment as a psychologist and was looking for any respectable job. Photography had seemed a good possibility, but since he had not wanted to be like those amateurs who end up begging to photograph weddings, baptisms, and birthdays, he had come to the magazine. “Tomorrow I’m going to interview some prostitutes. Do you want to come along and give it a try?” Irene asked. Francisco accepted on the spot, brushing aside a shadow of sadness, thinking how much easier it was to earn a living by clicking a shutter than it was by placing his experience and hard-won knowledge at the service of his fellow man. When

Human beings are responsible for art, science, medicine, education, the Sistine Chapel, Handel’s Messiah, New York City, space travel, the novel, photography, and Mexican food — I mean, who doesn’t love Mexican food? But we’re also responsible for a world with 27 million slaves, blatant racism, the Holocaust, Hiroshima, the genocide in Rwanda, ISIS, the financial meltdown of 2008, pornography, global warming, the endangered-species list, and don’t even get me started on pop music. So we humans are a mixed bag. We have a great capacity — more than we know — to rule in a way that is life-giving for the people around us and the place we call home, or to rule in such a way that we exploit the earth itself and rob people of an environment where they can thrive. This was God’s risk. His venture. His experiment.

Sensuality is for you, not about you. It’s for you in a sense that you are allowed to indulge all of your senses and taste the goodness of this world and beyond. It’s also for you in a sense that you’re allowed to curate and express yourself in an authentic way (i.e. in the way you dress, communicate, live, love, play, etc.). However, sensuality is not ABOUT you, it’s about those to whom you were brought here to touch and inspire. It’s about the joy and pleasure you’re here to bring. You didn’t come here for yourself nor empty-handed, but you came here bearing special gifts. You were brought here to be a vessel of sensual innovation and a conveyor of heaven’s most deepest pleasures. Your passion is an indication of the sensual gift(s) you were endowed with before you made your grand entry into this world. Your divine mandate now is to exploit every sensual gift you have to the fullest whether it’s music, photography, boudoir or fashion modeling, etc. If you have a love for fashion, always dress impeccably well like my friend Kefilwe Mabote. If you have a love for good food and wine, create culinary experiences the world has never seen before like chef Heston Blumenthal whom I consider as one of the most eminent sensual innovators in the culinary field. Chef Heston has crafted the most sensually innovative culinary experience where each sense has been considered with unparalleled rigour. He believes that eating is a truly multi-sensory experience. This approach has not only led to innovative dishes like the famous bacon and egg ice cream, but also to playing sounds to diners through headphones, and dispersing evocative aromas with dry ice. Chef Heston is indeed a vessel of sensual innovation and a conveyor of heaven’s most deepest pleasures in his own right and field. So, what sensual gift(s) are you here to use? It doesn’t have to be a big thing. For instance, you may be a great home maker. That may be an area where you’re endowed with the most sensual innovative abilities than any other area in your life. You need to occupy and shine your light in that space, no matter how small it seems.

So you hook up with strangers?" Liam asked in a hushed whisper as the cashier rang up their order. "Were you with someone last night?" "Yes. His name is Max." She pulled out her phone. "I have a selfie of us together." She held it up for the cashier to see, keeping the screen away from Liam's line of vision. "Oh, he's gorgeous," the cashier said. "He's got the nicest eyes." "Let me see." Liam felt his protective instincts rise. "Who is he? Max who?" "He doesn't have a last name." "Jesus Christ, Daisy," he spluttered. "Does Sanjay know you do this? What about your dad?" "They know all about Max," Daisy said. "In fact, my dad took a picture of us cuddled together in bed the night before he left on his trip, and the cutest one of Max on my pillow. I bought some pajamas but he refused to wear them. He likes to sleep au naturel." Bile rose in Liam's throat. "And your dad took... pictures?" "Photography is his new hobby. He took some great shots when I was giving Max a bath..." "Stop." Liam held up a hand. "Just... I can't. I don't know what's happened to you, but it ends now. We're engaged and that means no more random hookups, no pornographic pictures, and no flashing pictures of strangers in the nude." "Amina doesn't mind. She's my second cousin." Daisy introduced them before turning her phone around. "And this is Max." Liam was a heartbeat away from shutting his eyes when his brain registered the picture of a fluffy white dog on a pink duvet. His tension left him in a rush. "Max is a dog." "He's a Westie. Layla got him for me as an emotional support dog at a bad time in my life." Liam bit back the urge to ask Daisy about a time so bad she'd needed extra love. It was her business, and he could only hope she would tell him when she was ready so he could offer his support. "That wasn't funny." "Amina and I were amused." "I heard you were engaged." Amina's gaze flicked to Liam and she blushed. "He's almost as cute as Max.

He has a rather fluid style,” says Hirsch, who was already cutting together scenes. “Not that he moves the camera all that much; he moves the camera at a certain moment through a scene and his staging of the action is fluid. Kersh doesn’t cover a scene in a simplistic way. He doesn’t shoot a master and then go in for close-ups. He will shoot mini masters that overlap at certain key points. It’s a subtle thing. He really knows what he’s doing.” “I stage differently from George; I use the camera differently,” says Kershner. “I use the actors in a different way. I certainly love his work but mine is just different. The photography is totally different, the lighting, the movement.

I can either turn to you Or make them all blind For witnessing my real hue And letting my soul slide First is obviously the one I chose For even the ones with their eyes tied Never miss to disclose Never miss to be prejudiced

Photographs were such powerful magic. It was a gift from the God of Immortality. I felt like both my mom and dad were on either side of my shoulder as I flipped through the album. For the first time in my life, I didn’t feel like an orphan. For the first time, I felt the warmth and love of a complete family through the album.

Wedding photography is my absolute dream job, I am actually besotted with everything about weddings. Even when I am not out there photographing heartwarming celebrations, I am often found mentoring and running workshops for fellow photographers too. I just love spreading my passion for the industry.

Of all my photos, I like the ones I took with love the most От всичките си снимки най-много харесвам тези,които съм направил с любов…

For their sake, I pretend to love all of it—the fuss and the huge production and everything—but it’s slowly eroding what I love about photography. For months now, I’ve toyed with the idea of leaving the wedding business, of going back to what I love about photography—to be able to take my time, play around with different lenses and lighting and angles instead of rushing to take photo after photo of the same stuff. Not that I can ever reveal any of this to my family.

I could look into your eyes for the rest of my life and never get bored.

I look at the pictures I have done up to now, and they make me feel that who we are and what we feel and what is to become of us just doesn’t matter. Our aspirations and successes have become cheap and petty. I read the newspapers, the columnists, some books, I look at the magazines (our press). They all deal in illusions and fantasies. I can only conclude that we have lost ourselves, and that the bomb may finish the job permanently, and it just doesn’t matter, we have not loved life. I cannot accept my conclusions, and so I must continue this photographic investigation further and deeper.

There is so much beauty in this world. I wish people would stop and see it. If we all would see this beauty, there would be no violence and no hurting each other. Because when our hearts are filled with love and care, we would only help and love each other. There would be no war, abuse, poisoning nature, and so much pain. Through my photos, I wish to inspire people to be their full potential, to live their lives to the fullest, to stop and admire the beauty right in front of them or under their feet, to feel, to live, to love. Through my photos, I wish to bring people back to nature. When they feel sand under their feet, feel sunshine on their skin, smell a lovely flower, see a stunning sunset, watch or take care of animals, they will stop poisoning the earth, and destroy what is part of them. Why destroy our own home?” – Ineta Love Wonder, I Love Wonder

I think of an Afghan driver I once had, a medical student who spoke whimsically of the homeland he loved so dearly but so badly wanted to leave. 'We Afghans are unlucky people,' the driver had whispered. "But we would be the luckiest people if the wars ever left—look outside at this magical place.

I choose to love myself to love the world to be loved by love itself to Be Love

Whether it’s music, photography, film, or painting, the arts reflect the world around us, and for too long, I only saw the dark side. The seedy underbellies, the ugly truths.

What I want, in short, is that my (mobile) image, buffeted among a thousand shifting photographs, altering with situation and age, should always coincide with my (profound) "self"; but it is the contrary that must be said: "myself" never coincides with my image; for it is the image which is heavy, motionless, stubborn (which is why society sustains it) , and "myself" which is light, divided, dispersed; like a bottle-imp, "myself" doesn't hold still, giggling in my jar: if only Photography could give me a neutral, anatomic body, a body which signifies nothing! Alas, I am doomed by (well meaning) Photography always to have an expression: my body never finds its zero degree, no one can give it to me (perhaps only my mother? For it is not indifference which erases the weight of the image-the Photomat always turns you into a criminal type, wanted by the police-but love, extreme love).

to believe he loves photography because it’s an act of connection, but I love photography because it’s the contrary. It’s an act of separation, of possession, of conquest.

I realize this is quite a surprise, as a live performance wasn’t in the program tonight,” Alex said. “And if you know me, you know I’m not famous for my patronage of the arts—or my singing skills.” Soft laughter rippled through the crowd, along with a few knowing looks. Alex waited for the chuckles to die down before he continued, his gaze burning into mine. “Whether it’s music, photography, film, or painting, the arts reflect the world around us, and for too long, I only saw the dark side. The seedy underbellies, the ugly truths. Photographs reminded me of moments in time that never lasted. Songs reminded me that words have the power to rip one’s heart out. Why, then, would I care about art when it was so terrible and destructive?” It was a bold statement to make in front of London’s art world, but no one heckled. No one so much as breathed. Alex had us all under the spell of his words. “Then someone came into my life and upended everything I thought I knew. She was everything I wasn’t—purehearted, trusting, optimistic. She showed me the beauty that existed in this world, and through her, I learned the power of faith. Joy. Love. But I’m afraid I’ve tainted her with my untruths, and I’m hoping, with all my heart, that one day she’ll find her way out of the darkness and into the light again.

There is some comfort for me in knowing that life will go on even when we don’t. But I would argue that when our light goes out, it will be Earth’s greatest tragedy, because while I know humans are prone to grandiosity, I also think we are by far the most interesting thing that ever happened on Earth. It’s easy to forget how wondrous humans are, how strange and lovely. Through photography and art, each of us has seen things we’ll never see—the surface of Mars, the bioluminescent fish of the deep ocean, a seventeenth-century girl with a pearl earring. Through empathy, we’ve felt things we might never have otherwise felt. Through the rich world of imagination, we’ve seen apocalypses large and small. We’re the only part of the known universe that knows it’s in a universe. We know we are circling a star that will one day engulf us. We’re the only species that knows it has a temporal range.

There's no messing with perfection. (Okay, a little messing, just for fun.) A few crystals of coarse sea salt, a drizzle of local olive oil, and a sprig or two of purple basil. Sliced and layered in a white ceramic dish, the tomatoes often match the hues of the local sunsets--- reds and golds, yellows and pinks. If there were such a thing in our house as "too pretty to eat," this would be it. Thankfully, there's not. If I'm not exactly cooking, I have done some impromptu matchmaking: baby tomatoes with smoked mozzarella, red onions, fennel, and balsamic vinegar. A giant yellow tomato with a local sheep's milk cheese and green basil. Last night I got a little fancy and layered slices of beefsteak tomato with pale green artichoke puree and slivers of Parmesan. I constructed the whole thing to look like the Leaning Tower of Pisa. I love to think of the utterly pretentious name this would be given in a trendy Parisian bistro: Millefeuille de tomate provençale, tapenade d'artichaut et coppa de parmesan d'Italie (AOC) sur son lit de salade, sauce aigre douce aux abricots. And of course, since this is a snooty Parisian bistro and half their clientele are Russian businessmen, the English translation would be printed just below: Tomato napoleon of artichoke tapenade and aged Parmigiano-Reggiano cheese on a bed of mixed greens with sweet-and-sour apricot vinaigrette. The sauce abricot was a happy accident. While making the dressing for the green salad, I mistook a bottle of peach/apricot syrup for the olive oil. Since I didn't realize my mistake until it was at the bottom of the bowl, I decided to try my luck. Mixed with Dijon mustard and some olive oil, it was very nice--- much sweeter than a French vinaigrette, more like an American-style honey Dijon. I decided to add it to my pretentious Parisian bistro dish because, believe it or not, Parisian bistros love imitating American food. Anyone who has been in Paris in the past five years will note the rise of le Tchizzberger. (That's bistro for "cheeseburger.") I'm moderate in my use of social media, but I can't stop taking pictures of the tomatoes. Close up, I've taken to snapping endless photos of the voluptuously rounded globes. I rejoice in the mingling of olive oil and purply-red flesh. Basil leaves rest like the strategically placed tassels of high-end strippers. Crystals of sea salt catch the afternoon sun like rhinestones under the glaring lights of the Folies Bergère. I may have invented a whole new type of food photography: tomato porn.