Observing Photography Quotes

To me, photography is an art of observation. It’s about finding something interesting in an ordinary place…I’ve found it has little to do with the things you see and everything to do with the way you see them.

Photography is an art of observation. It has little to do with the things you see and everything to do with the way you see them.

It's often about the simple things, isn't it? Painting and photography are first about seeing, they say. Writing is about observing. Technique is secondary. Sometimes the simple is the most difficult.

All the technique in the world doesn't compensate for the inability to notice

Photography is the art of observation. It has little to do with the things you see and everything to do with the way you see them.

Later, when she sees the photographs for the first time, she will be surprised at how calm her face looks - how steady her gaze, how erect her posture. In the picture her eyes will be slightly closed, and there will be a shadow on her neck. The shawl will be draped around her shoulders, and her hands will rest in her lap. In this deceptive photograph, she will look a young woman who is not at all disturbed or embarrassed, but instead appears to be rather serious. And she wonders if, in its ability to deceive, photography is not unlike the sea, which may offer a benign surface to the observe even as it conceals depths and current below.

One of the benefits of being an artist is being very observant.

No amount of photography could replace the memories of a life lived, of lives observed and known, of lives elaborated in the mind and on the page.

As Susan Sontag observes in her study of photography, “Reality has come to seem more and more like what we are shown by cameras.” Bourgeois families in the eighteenth and nineteenth centuries, Sontag points out, posed for portraits in order to proclaim the family’s status, whereas today the family album of photographs verifies the individual’s existence: the camera helps to weaken the older idea of development as moral education and to promote a more passive idea according to which development consists of passing through the stages of life at the right time and in the right order.

War is such a peculiar thing—inaugurated by the whims of few, affecting the fate of many. It is a difficult, if not impossible, thing to understand, yet we feel compelled to describe it as though it has meaning—even virtue. It starts for reasons often hopelessly obscure, meanders on, then stops

For a Photographer - Having an OBSERVANT MIND is more important than having an expensive camera.

You, too, can observe the beauty of flowers and nature through the windows of your life if you are willing to open them.

Photography is the power of observation,and not the application of technology....

What is aura? A peculiar web of space and time: the unique manifestation of a distance, however near it may be. To follow, while reclining on a summer’s noon, the outline of a mountain range on the horizon or a branch, which casts its shadow on the observer until the moment or  the hour partakes of their presence—this is to breathe in the aura of these mountains, of this branch. Today, people have as passionate an inclination to bring things close to themselves or even more to the masses, as to overcome uniqueness in every situation by reproducing it. Every day the need grows more urgent to possess an object in the closest proximity, through a picture or, better, a reproduction. And the reproduction, as the illustrated newspaper and weekly readily prove, distinguishes itself unmistakably from the picture. Uniqueness and permanence are as closely intertwined in the latter as transitoriness and reproducibility in the former.

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.

Images are mediations between the world and human beings. Human beings 'ex-ist', i.e. the world is not immediately accessible to them and therefore images are needed to make it comprehensible. However, as soon as this happens, images come between the world and human beings. They are supposed to be maps but they turn into screens: Instead of representing the world, they obscure it until human beings' lives finally become a function of the images they create. Human beings cease to decode the images and instead project them, still encoded, into the world 'out there', which meanwhile itself becomes like an image - a context of scenes, of states of things. This reversal of the function of the image can be called 'idolatry'; we can observe the process at work in the present day: The technical images currently all around us are in the process of magically restructuring our 'reality' and turning it into a 'global image scenario'. Essentially this is a question of 'amnesia'. Human beings forget they created the images in order to orientate themselves in the world. Since they are no longer able to decode them, their lives become a function of their own images: Imagination has turned into hallucination.

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

It is felt that there is something morally wrong with the abstract of reality offered by photography; that one has no right to experience the suffering of others at a distance, denuded of its raw power; that we pay too high a human (or moral) price for those hitherto admired qualities of vision - the standing back from the aggressiveness of the world which frees us for observation and for elective attention.

But very often (too often, to my taste) I have been photographed and knew it. Now, once I feel myself observed by the lens, everything changes: I constitute myself in the process of "posing". I instantaneously make another body for myself, I transform myself in advance into an image. This transformation is an active one: I feel that the Photograph creates my body or mortifies it, according to its caprice (...).

In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing.

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

The desire to catch, as Bonnard hoped, the PASSING MOMENT is antithetical to being in the moment. The photographer is an observer to others’ moments. The Picture People have dedicated themselves to this paradox, and consign themselves on either side of the equation.

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.

Les moments significatifs de la vie sont parfois les plus courts. Telle la seconde d'un flash qui à jamais immortalise un instant et transforme le fugace en impérissable. Tôt ou tard, la photographie jaunie et racornie de cet instant se substitue au souvenir d'une période. Plus encore, elle devient la loupe à travers laquelle on observe cette période, et la déforme. Dans mon souvenir, le reste de ma vie est une création de cet instant précis où j'ai posé les yeux sur lui.

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.

At the top, I put the camera's viewfinder to my eye and slowly turned, the way my grandmother had taught me. From every vantage point something remarkable filled the screen- clusters of wild red columbine, fallen boulders forming geometric designs against the wall, crusty green lichen gnawing on rocks, a Baltimore oriole popping from a thicket of brush, and, at my feet, a grasshopper clinging to a stem of purple aster. I could spend a day here and barely scratch the surface. The sun felt warm on my shoulders as I bent down to capture the blossoms of yellow star grass, the feathery purple petals of spotted knapweed, and the lacy wings of two yellow jackets as they alighted on tiny white blossoms of Labrador tea. By the time I finished taking photos of a monarch butterfly resting on milkweed, I realized an hour had passed.

Photography is the art of observation. It has little to do with the things you see and everything to do with the way you see them.” —Elliott Erwitt

When I carry out my novice efforts to capture these, I feel both detached from the world (as any observer might do - especially when looking at it through a viewfinder) yet feel very connected to people around me. I am paying far more attention to them than normal; I’m far more interested in life. I’m attracted to people and the snapshots of life that show through their postures and faces.

Photography is a classic interest of the INTP, which depends strongly on the Si – Ne combination, as well as on Ti for attention to technical detail. Landscape photography, for example, is the art of conveying a sense of mood/atmosphere to the viewer (Si). The correct employment of lenses, filters etc. brings out the Ti core, while the enjoyment of seeing the world as an fascinating varied object to be observed and captured in the best possible way brings out the Ne-Ti architect.

Every traveler should make their own observation.

Many Worlds Interpretation” (MWI), which says that everything that can happen, does happen. The universe continually branches out like budding yeast into an infinitude of universes that contain every possibility, no matter how remote. You now occupy one of the universes. But there are innumerable other universes in which another “you,” who once studied photography instead of accounting, did indeed move to Paris and marry that girl you once met while hitchhiking. According to this view, embraced by such modern theorists as Stephen Hawking, our universe has no superpositions or contradictions at all, no spooky action, and no non-locality: seemingly contradictory quantum phenomena, along with all the personal choices you think you didn’t make, exist today in countless parallel universes. Which is true? All the entangled experiments of the past decades point increasingly toward confirming Copenhagen more than anything else. And this, as we’ve said, strongly supports biocentrism. Some physicists, like Einstein, have suggested that “hidden variables” (that is, things not yet discovered or understood) might ultimately explain the strange counterlogical quantum behavior. Maybe the experimental apparatus itself contaminates the behavior of the objects being observed, in ways no one has yet conceived.

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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 teaches me to be observant,” said Serge. “Discipline. Becoming one with the environment so I don’t miss even the smallest detail.” A skunk ape crossed the road behind him.

On my first road trip after the pandemic, I had a nervous breakdown. I felt like I'd forgotten how to take pictures. To calm myself, I'd reread the advice Allen Ginsberg gave to students in the photography workshop he ran with Robert Frank: Ordinary mind Includes eternal perceptions. Observe what's vivid. Notice what you notice. Catch yourself thinking. Vividness is self-selecting. Frist thought, best thought. Subject is known by what she sees. Others can measure their vision by what we see. Candor ends paranoia.

Sometimes my pictures do not describe grand places or things, and sometimes they are not grand pictures; but they mean something to me —like this abandoned corner at the back of a church. She called to me that she was dying, crumbling down, and only some appreciation could save her.

Quite often photographs gain power from what is omitted from the frame rather than from what is included.

One of the incredibly deep ironies is that the [Abu Ghraib] photographs could serve as both an exposé and as a cover-up. That they would encourage people not to look any further and make them think they had seen everything.

They say seeing is believing, but the opposite is true. Believing is seeing.

Photographs attract false beliefs the way flypaper attracts flies.

The fact that photographs are silent is only one reason why we mistakenly assume they aren’t saying anything.

With a still photograph you have the illusion of a literal description of what was before the camera, but any narrative accompanying the photograph is a reader’s interpretation.

Photographs can reveal something to us, and they can also conceal things.

there is nothing mystifying in the meaningful reason behind the observation: you always see so much more clearly after the mist clears

Perhaps the desire to take photographs arises from the observation that on the broadest view, from the standpoint of reason, the world is a great disappointment. In its details, however, and caught by surprise, the world always has a stunning clarity. The secret form of the Other is what has to be reconstituted, as in anamorphosis, starting with the fragments and tracing its broken lines, its lines of fracture.

What I like about The Wolf-Man is that his problems can’t be solved; a person’s life exceeds the neat arrangement of a detective story. A mental image from a dream or memory does not lead to a corresponding fact, but only the creation of more images. The human mind is not a perfect index of observable reality. We are not machines made for recording and storage. Thus begins our fascination with photography and film…

The matter of art in photography may come to this: It is the defining of observation full and felt.

…Essentially the camera makes everyone a tourist in other people’s reality, and eventually in one’s own.

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In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads-as an anthology of images. To collect photographs is to collect the world

John Berger’s observation on the historic depictions of women’s bodies in photography and painting from his book Ways of Seeing: To be born a woman has been to be born, within an allotted and confined space, into the keeping of men. The social presence of women has developed as a result of their ingenuity in living under such tutelage within such a limited space. But this has been at the cost of a woman’s self being split into two. A woman must continually watch herself. She is almost continually accompanied by her own image of herself. Whilst she is walking across a room or whilst she is weeping at the death of her father, she can scarcely avoid envisaging herself walking or weeping. From earliest childhood she has been taught and persuaded to survey herself continually… One might simplify this by saying: men act and women appear. Men look at women. Women watch themselves being looked at…Thus she turns herself into an object—and most particularly an object of vision: a sight.