Photography Moment Quotes

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What i like about photographs is that they capture a moment that’s gone forever, impossible to reproduce.
Karl Lagerfeld
All photographs are memento mori. To take a photograph is to participate in another person’s (or thing’s) mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time’s relentless melt.
Susan Sontag
A good snapshot keeps a moment from running away.
Eudora Welty
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....
Kate Morton (The House at Riverton)
To photograph is to hold one's breath, when all faculties converge to capture fleeting reality. It's at that precise moment that mastering an image becomes a great physical and intellectual joy.
Henri Cartier-Bresson (The Mind's Eye: Writings on Photography and Photographers)
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.
Jandy Nelson (The Sky Is Everywhere)
A portrait is not a likeness. The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion. There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is the truth.
Richard Avedon
to take a photograph is to participate in another person's mortality, vulnerability, mutability. precisely by slicing out this moment and freezing it, all photographs testify to time's relentless melt.
Susan Sontag (On Photography)
Don’t pack up your camera until you’ve left the location.
Joe McNally (The Moment It Clicks: Photography Secrets from One of the World's Top Shooters)
I know the best moments can never be captured on film, even as I spend nearly half my life trying to do just that.
Rosie O'Donnell
Most things in life are moments of pleasure and a lifetime of embarrassment; photography is a moment of embarrassment and a lifetime of pleasure.
Tony Benn
Life is not about significant details, illuminated a flash, fixed forever. Photographs are.
Susan Sontag (On Photography)
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.
Keith Carter
He'd never need a camera to remember this, and damn if he ever wanted anyone but him to see her like she was at this moment.
Kelly Moran (Exposure)
Live in the moment. Moments make history.
Nikki Sixx (This Is Gonna Hurt: Music, Photography, And Life Through The Distorted Lens Of Nikki Sixx)
The world moves fast, changing everything around us with each new day. Photography is a gift that can keep us in a moment forever, blissfully eternal.
Ali Novak (The Heartbreakers (The Heartbreakers Chronicles, #1))
Photography is a magical kind of art that allows people to preserve time and moments, and to describe the world the way they see it.
Sahara Sanders
No matter how much crap you gotta plow through to stay alive as a photographer, no matter how many bad assignments, bad days, bad clients, snotty subjects, obnoxious handlers, wigged-out art directors, technical disasters, failures of the mind, body, and will, all the shouldas, couldas, and wouldas that befuddle our brains and creep into our dreams, always remember to make room to shoot what you love. It’s the only way to keep your heart beating as a photographer.
Joe McNally (The Moment It Clicks: Photography Secrets from One of the World's Top Shooters)
Sometimes one waits too long for the perfect moment before snapping the picture. You never realize that you needed was to change perspective.
Miguel Syjuco
We take pictures because we can't accept that everything passes, we can't accept that the repetition of a moment is an impossibility. We wage a monotonous war against our own impending deaths, against time that turns children into that other, lesser species: adults. We take pictures because we know we will forget. We will forget the week, the day, the hour. We will forget when we were happiest. We take pictures out of pride, a desire to have the best of ourselve preserved. We fear that we will die and others will not know we lived.
Michelle Richmond (The Year of Fog)
John Loengard, the picture editor at Life, always used to tell me, ”If you want something to look interesting, don’t light all of it.
Joe McNally (The Moment It Clicks: Photography Secrets from One of the World's Top Shooters)
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.
Tillie Cole (A Thousand Boy Kisses (NEW BONUS CONTENT))
You’ve gotta taste the light, like my friend and fellow shooter Chip Maury says. And when you see light like this, trust me, it’s like a strawberry sundae with sprinkles.
Joe McNally (The Moment It Clicks: Photography Secrets from One of the World's Top Shooters)
Unpredictability. Accidents. Not good when you’re engaging in, say, brain surgery, but when lighting...wonderful!
Joe McNally (The Moment It Clicks: Photography Secrets from One of the World's Top Shooters)
You only have to start saying of something : 'Ah, how beautiful ! We must photograph it !' and you are already close to the view of the person who thinks that everything that is not photographed is lost, as if it never existed, and therefore in order to really live you must photograph as much as you can, and to photograph as much as you can you must either live in the most photographable way possible, or else consider photographable every moment of your life.
Italo Calvino (Difficult Loves)
There's something about photography I love -- a whole memory caught in a moment.
Rebecca Serle (One Italian Summer)
I can’t tell you how many pictures I’ve missed, ignored, trampled, or otherwise lost just ‘cause I’ve been so hell bent on getting the shot I think I want.
Joe McNally (The Moment It Clicks: Photography Secrets from One of the World's Top Shooters)
In photography there is no meantime. There was just that moment and now there’s this moment and in between there is nothing. Photography, in a way, is the negation of chronology.
Geoff Dyer (The Ongoing Moment: A Book About Photographs)
Photography is like stealing.You rob someone of a moment that exposes something essential about their character,their soul if you like.there are people who are very conscious of that,who find that terrifying.The thought that everyone,friend of foe,can get so close to you,look you straight in the eye and judge you without having any control over it or being able to respond.A part of them has become the property of the photographer.
Esther Verhoef (Close-up)
A good selfie is when you successfully capture the feeling of that very moment!
Anamika Mishra
We are living in a moment where we have broken the equilibrium of the planet. We are not paying attention to our intuitive side. We only pay attention to our reason. We have become an urban animal
Sebastião Salgado
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.
Abbas Kiarostami
Photographs are so strange; they are always in the present tense, everyone captured in a moment that will never come again.
Natasha Solomons (The House at Tyneford)
You can frame a moment. But you can´t frame life.
Armin Houman
If you don’t capture the moments, it will be gone forever.
Lailah Gifty Akita (Think Great: Be Great! (Beautiful Quotes, #1))
Every once in a while, it pays to listen to those annoying characters who are just waiting to tell you how to do your job.
Joe McNally (The Moment It Clicks: Photography Secrets from One of the World's Top Shooters)
Any moment which is not captured is loss in the events of time.
Lailah Gifty Akita
You think too much and I bet it kills the magic," he says simply. "Some things are just instinct and if you try and replace that with thinking they die. You can read and think as much as you want before and after, but in the moment, man, you have to, like, let go.
Blue GhostGhost (Art Criticism)
My love of photography is melded with the ability to capture what I want to remember in the moment I want to never forget.
Devin Dygert
When shooting a story about someone, their hands should always be on your list to shoot.
Joe McNally (The Moment It Clicks: Photography Secrets from One of the World's Top Shooters)
Let us take you into a deeper experience, make a moment a lasting conveyable memory. Let us help build your tribe.
Deep Immersion
We are thieves of the moment, taking every instance in appreciation of its true value.
Vic Stah Milien
Only photography has been able to divide human life into a series of moments, each of them has the value of a complete existence.
Eadweard Muybridge
I slid down in the seat and began to weep. I wept for her, for me, but mostly because the siren call of my first big story with a yellow border around it was more powerful than the call of fatherhood.
Joe McNally (The Moment It Clicks: Photography Secrets from One of the World's Top Shooters)
Those static images have the uncanny ability to jar the memory and bring places and people back to life. They bridge the present with the past and validate as real what the passage of time has turned into hazy recollections. Were it not for them, my experiences would have remained as just imperfect memories of perfect moments.
Isabel Lopez (Isabel's Hand-Me-Down Dreams)
To take photographs is to hold one's breath when all faculties converge in the face of fleeing reality. It is at that moment that mastering an image becomes a great physical and intellectual joy. To take photographs means to recognize—simultaneously and within a fraction of a second—both the fact itself and the rigorous organization of visually perceived forms that give it meaning. It is putting one's head, one's eye, and one's heart on the same axis.
Henri Cartier-Bresson (The Mind's Eye: Writings on Photography and Photographers)
If the photographers are soul-thieves, whose soul is being stolen in a photograph of the night sky? The soul of the last one to go to bed and the soul of the first one to rise in the morning, perhaps? Photography is a black art like alchemy. It turns matter into spirit and spirit into matter. Still, there are moments when looking at a photograph of a night sky we have a hunch what the word soul means, what the word infinity encompasses.
Charles Simic (The Life of Images: Selected Prose)
Capture every moments of your life.
Lailah Gifty Akita (Think Great: Be Great! (Beautiful Quotes, #1))
Life is like photography. At one point we realize that candid photography offers more “Perfect Moments” than stressfully trying to control everything to create such moments.
Shunya
Sometimes, all you can take are memories But if you’re lucky enough to capture the moment, it lives forever, immortally fixed.
Keegan Allen (life.love.beauty)
I've often thought about how all these different life forms occupy the same space as me during a given moment and how easy it can be to get so wrapped up in your own world you forget you're part of something larger and marvelous.
Noel Marie Fletcher (Windows into the Beauty of Flowers & Nature)
In terms of image-repertoire, the Photographer (the one I intend) represents that very subtle moment when, to tell the truth, I am neither subject nor object but a subject who feels he is becoming an object: I then experience a micro-version of death.
Roland Barthes (Camera Lucida: Reflections on Photography)
What i Like about Photography is that it takes moments that should have been forgotten, and just Freezes them, and allows us to share it with everyone and share it with future generations. But theirs is also the sense of Secrets of the picture, or the stuff you don’t know, or don’t see. You don’t really know what happened before or after a picture its like time is just frozen in that moment.
Jesús Holguin
Collect moments rather than things. Moments get away.
Matthew Knisely (Framing Faith: From Camera to Pen, An Award-Winning Photojournalist Captures God in a Hurried World)
All photographers have to do, is find and catch the story-telling moment.
Alfred Eisenstaedt
In this fleeting life, there is nothing stronger than a visual idea or moment stopped in time forever. And nothing does this better than a black-and-white photograph.
Richard Olsenius (National Geographic Photography Field Guide: Digital Black & White)
A good photograph never belongs to the past; every time you look at it, it is with you, it is alive and it is in the present moment!
Mehmet Murat ildan
Nature is a picture waiting to be taken.
Katja Michael
What do we feel when we look at a good photograph? We just want to be there, right at the exact moment that photo taken!
Mehmet Murat ildan
To me, the world and art of photography is to capture emotion, feelings and moments; and share it with the world. I master the art when I am capable of awaking emotion in other people through my images.
Viktor Tatarczuk
A recurrent question about photography is how much self expression it allows the photographer. There are two standard positions, each corresponding to a different location oh photographic skill. The opposition is neatly summed up in Bioy Casares’s novel The Adventures of a Photographer in La Plata (1989). The hero Nicolasito Almanza declares: ‘I am convinced that all of photography depends on the moment we press the release […] I believe that you’re a photographer if you know exactly when to press the release.’ In making this declaration he is responding to the opinion expressed by Mr Gruter, owner of a photographic laboratory: ‘[…] sometimes I wonder if the true work of the photographer doesn’t begin in the dark room, amid the trays and the enlarger.
Clive Scott (Spoken Image)
When I was in school, I wanted to be W. Eugene Smith. He was a legendary staffer at Life, a consummate photojournalist, and an architect of the photo essay. He was also kinda crazy. That was obvious when he came to lecture at Syracuse University and put a glass of milk and a glass of vodka on the lectern. Both were gone at the end of the talk. He was taking questions and I was in the front row, hanging on every word. Mr. Smith, is the only good light available light?” came the question. He leaned into the microphone. “Yes,” he baritoned, and paused. A shudder ran through all of us. That was it! No more flash! God’s light or nothing! But then he leaned back into the mic, “By that, I mean, any &*%%@$ light that’s available.” Point taken.
Joe McNally (The Moment It Clicks: Photography Secrets from One of the World's Top Shooters)
I create other worlds, magical never-never lands where the camera is my weapon and the battles I fight are with the elements. i stretch the laws of the mind and displace people from their realities to capture a side of them they didn’t even know they had. Photography has the ability to freeze people in this time and space—no matter what happens after that moment, it cannot change—they are exactly how i want them to be.
Tyler Shields
I see it all through the lens of my camera—the flurry of movement, the venue staff in black T-shirts, giving orders into their headsets. As I take it all in, my mind weighs the texture, the composition, the possibility of each changing scene, and I struggle to hold back, to keep my finger from pressing too soon. That’s my biggest flaw as a photographer. I’m impatient—trigger-happy. I want the shot now, now, now, click, click, click, and if I could just wait a second more, the moment would really flourish.
Emery Lord (Open Road Summer)
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.
Kate Morton (The House at Riverton)
The moon occurs more frequently than the sun as an image in lyric poetry. There is a greater contrast between the moon and the night sky than there is between the sun and the daytime sky. And this contrast is more conducive to sorrow, which always separates or isolates itself, than it is to happiness, which always joins or blends. And to stand face-to-face with the sun is preposterous -- it would blind you. The moon has no light of its own; our apprehension of it is but a reflection of the sun. And some believe artists reflect the creative powers of some original impulse too great to name. The moon is the incunabulum of photography, the first photograph, the first stilled moment, the first study in contrasts. Me here -- you there. Between 1969 and 1972, six missions left for the moon and six missions came back. The men who went to the moon who were forever altered without exception all say the same thing -- it was not being on the moon that profoundly affected them as much as it was looking at the earth from the vantage point of the moon. You there -- me here.
Mary Ruefle (Madness, Rack, and Honey: Collected Lectures)
Make dance the mission every moment seeks to accomplish.
Shah Asad Rizvi
Photography captures a moment in time. Art captures time in a moment.
Joyce Wycoff
When you want to take a picture, always cherish that moment. Don't let it get away.
Yoko Nogiri (Love in Focus, Vol. 2 (Love in Focus, #2))
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.
Amy Spalding (The Summer of Jordi Perez (and the Best Burger in Los Angeles))
A photograph is a biography of a moment.
Arthur Shay
Photographers are the history makers, because every picture is a moment which gone fore ever and can not be re shoot.” ― Biju Karakkonam Nature and Wild life Photographer
Biju Karakkonam Nature and Wild life Photographer
Capture the moment. It is your only sacred-memory.
Lailah Gifty Akita (Think Great: Be Great! (Beautiful Quotes, #1))
I have a print - you can buy them at the Victoria and Albert Museum - of a photograph of the village street of Thetford, taken in 1868, in which William Smith is not. The street is empty. There is a grocer's shop and a blacksmith's and a stationary cart and a great spreading tree, but not a single human figure. In fact William Smith - or someone, or several people, dogs too, geese, a man on a horse - passed beneath the tree, went into the grocer's shop, loitered for a moment talking to a friend while the photograph was taken but he is invisible, all of them are invisible. The exposure of the photograph - sixty minutes - was so long that William Smith and everyone else passed through it and away leaving no trace. Not even so much of a mark as those primordial worms that passed through the Cambrian mud of northern Scotland and left the empty tube of their passage in the rock. I like that. I like that very much. A neat image for the relation of man to the physical world. Gone, passed through and away.
Penelope Lively (Moon Tiger)
How can we hold onto those fleeting moments in our lives? Hold onto the moments that otherwise evaporate into the forgotten past? Or moments that become faded and morphed into our own version of reality as they sit in the corners of our memories, losing their truth and shifting focus? The only way to hold onto these moments and share them for years to come, in all their beauty and truth and glorious imperfections, without losing accuracy is through a photograph.
Rosanne Moreland
I didn’t know why, but capturing moments fascinated me. Maybe it was because sometimes all we get are moments. There are no do-overs; whatever happens in a moment defines life—perhaps it is life. But capturing a moment on film keeps that moment alive, forever. To me, photography was magic.
Tillie Cole (A Thousand Boy Kisses (A Thousand Boy Kisses, #1))
Jay Maisel always says to bring your camera, ‘cause it’s tough to take a picture without it. Pursuant to the above aforementioned piece of the rule book, subset three, clause A, paragraph four would be…use the camera. Put it to your eye. You never know. There are lots of reasons, some of them even good, to just leave it on your shoulder or in your bag. Wrong lens. Wrong light. Aaahhh, it’s not that great, what am I gonna do with it anyway? I’ll have to put my coffee down. I’ll just delete it later, why bother? Lots of reasons not to take the dive into the eyepiece and once again try to sort out the world into an effective rectangle. It’s almost always worth it to take a look.
Joe McNally (The Moment It Clicks: Photography Secrets from One of the World's Top Shooters)
There are too many images, too many cameras now. We’re all being watched. It gets sillier and sillier. As if all action is meaningful. Nothing is really all that special. It’s just life. If all moments are recorded, then nothing is beautiful and maybe photography isn’t an art anymore. Maybe it never was
Robert Frank
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.
Abby Geni (The Lightkeepers)
Sugar understood the permanence of being Sugar or Lotty or Lucy or whoever you might be, trapped on a square of card to be shown at will to strangers. Whatever violations she routinely submits to in the privacy of bedroom, they vanish the moment they're over, half-forgotten with the drying of sweat. But to be chemically fixed in time and passed hand to hand forever: that is a nakedness which can never be clothed again
Michel Faber (The Crimson Petal and the White)
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.
Alice Sebold (The Lovely Bones)
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.
Kate Morton (The House at Riverton)
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.
Walter Benjamin (A Short History of Photography)
Before the invention of photography, significant moments in the flow of our lives would be like rocks placed in a stream: impediments that demonstrated but didn’t diminish the volume of the flow and around which accrued the debris of memory, rich in sight, smell, taste, and sound. No snapshot can do what the attractive mnemonic impediment can: when we outsource that work to the camera, our ability to remember is diminished and what memories we have are impoverished.
Sally Mann (Hold Still: A Memoir with Photographs (LITTLE, BROWN A))
Curiosity broke her earlier resolve. "Have you ever been tested?" "No." He stood behind Sara, holding the camera in front so she could see. "Zoom here," he said, flicking the toggle. "You could probably-" "This is macro." "Will-" "Super macro." He kept talking over her until she gave up. "Here's where you adjust for color. This is light. Anti-shake. Red-eye." He clicked through the features like a photography instructor. Sara Finally relented. "Why don't I point and you shoot?" "All right." His back was stiff, and she could tell that he was irritated. "I'm sorry I-" "Please don't apologize." Sara held his gaze for a few moments longer, wishing she could fix this. There was nothing to say if he wouldn't even let her apologize.
Karin Slaughter (Broken (Will Trent, #4))
Wiping her eyes, she steeled herself for what was to come, a bonanza of images celebrating their relationship, recording the silly, funny and even the angry moments. Viren with his love of photography ensured that each occasion, big or small had a reminder.
Inderpreet Uppal (Generously Yours)
We may never know what another person is thinking--never truly get into anyone else's head--but photography brings us as close as anything can. When the members of an audience at an art gallery look at a picture, they can step for a moment inside the mind of the artist. Like telepathy. Like time travel. At some future date, when people gaze at my photographs of the islands, they will see what I saw. They will stand where I stood, on this granite, surrounded by this ocean. Perhaps they will even feel some of the elation I have experienced here.
Abby Geni (The Lightkeepers)
Also, Willie, I dig telling the truth. Words can be twisted but a photo never lies. Sutton laughs. What’s funny? Photographer says. Nothing. Except—that’s pure horseshit kid. I can’t think of anything that lies more than a photo. In fact every photo is a dirty stinking lie because it’s a frozen moment—and time can’t be frozen. Some of the biggest lies I’ve ever run across have been photos. Some of them were of me.
J.R. Moehringer (Sutton)
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.
Molly Harper (And One Last Thing ...)
He was really quite addicted to her face, and yet for the longest time he could not remember it at all, it being so much brighter than sunlight on a pool of water that he could only recall that blinding brightness; then after awhile, since she refused to give him her photograph, he began to practice looking away for a moment when he was still with her, striving to uphold in his inner vision what he had just seen (her pale, serious, smooth and slender face, oh, her dark hair, her dark hair), so that after immense effort he began to retain something of her likeness although the likeness was necessarily softened by his fallibility into a grainy, washed-out photograph of some bygone court beauty, the hair a solid mass of black except for parallel streaks of sunlight as distinct as the tines of a comb, the hand-tinted costume sweetly faded, the eyes looking sadly, gently through him, the entire image cob-webbed by a sheet of semitranslucent Thai paper whose white fibers twisted in the lacquered space between her and him like gorgeous worms; in other words, she remained eternally elsewhere.
William T. Vollmann (Europe Central)
This is my second paragliding photo book. Flying photography really drives my life, which is a never-ending search as every day, in every place, the light, atmosphere and elements are different. This book is not about paragliders, their performance or technology; it's clearly about evocations and emotions. To me, the most important aspects of my life of flying adventures are the places and their perspectives, the situations and their contrasts, and the special people I shared special moments with.
Jérôme Maupoint
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.
Yudhanjaya Wijeratne (Numbercaste)
In the parlor was a huge camera on wheels like the ones used in public parks, and the backdrop of a marine twilight, painted with homemade paints, and the walls papered with pictures of children at memorable moments: the first Communion, the bunny costume, the happy birthday. Year after year, during contemplative pauses on afternoons of chess, Dr. Urbino had seen the gradual covering over of the walls, and he had often thought with a shudder of sorrow that in the gallery of casual portraits lay the germ of the future of the city, governed and corrupted by those unknown children, where note even the ashes of his glory would remain.
Gabriel García Márquez (Love in the Time of Cholera)
Outside the window of the balcony room, three metal guys were building a new patio for the defunct pool. The pool was slowly filling with red dust carried across the highway by intermittent breezes. At some point I stood up from the table and pulled back the curtain a bit and watched the half naked bodies of the guys climbing in and out of their trucks for tools or to turn up the volume of the music. I felt like a detective with only the window glass and the curtains camouflaging my desire. For a moment I was afraid the intensity of my sexual fantasies would become strangely audible; the energy of the thought images would become so loud that all three guys would turn simultaneously like witnesses to a nearby car crash.
David Wojnarowicz
Famously contemptuous of the art of photography, Marcel Proust, of all men, would have understood that the face I am seeking is in the end unfixable. People never stop changing position in relation to us. In the imperceptible but incessant movement of the world, we regard them as immobile in an instant of vision too brief for us to notice the moment which is propelling them. But we have only to select from our memories two pictures of them taken at different times, but similar enough for them not to change in themselves, at least not perceptibly and the difference between the two pictures is a gauge of the displacement they have undergone in relation to us. Even the dead are not immobile and dreams pay no homage to the absurd waking-myth of fixity.
Gail Jones (Fetish Lives)
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.
Stephen Chbosky (The Perks of Being a Wallflower)
Degas, more than any other Realist, looked upon the photograph not merely as a means of documentation, but rather as an inspiration: it evoked the spirit of his own imagery of the spontaneous, the fragmentary and the immediate. Thus, in a certain sense, critics of Realism were quite correct to equate the objective, detached, scientific mode of photography, and its emphasis on the descriptive rather than the imaginative or evaluative, with the basic qualities of Realism itself. As Paul Valéry pointed out in an important though little known article: ‘the moment that photography appeared, the descriptive genre began to invade Letters. In verse as in prose, the décor and the exterior aspects of life took an almost excessive place.… With photography… realism pronounces itself in our Literature’ and, he might have said, in our art as well.
Linda Nochlin (Realism: (Style and Civilization) (Style & Civilization))
Vanity is by far my favorite of all sins, and the camera lens is the ultimate vanity mirror. The camera captures all moods and nuances; immortalizes the soft and silky continuum that is humanity. Those still life moments seem so fluid, so representative of continuity. They are a single moment captured, yet an eternity expressed. All your youth; all your ages, captured and expressed in a single click. Of all the indulgences, vanity is certainly my favorite which we should otherwise resist, but are inexplicably captivated by and addicted. What other animal would spend so much time pouting and preening for its reflection? Only humanity would participate in such self-adoration. You would think we have the most colorful feathers or softest of manes. Rather, we are a naked biped that feels incomplete without some decorative element, accessory, or embellishment of the self. We are intoxicated by the image of the body, no different than we are seduced by fine wines, foods, or mind altering elements. We devour the skin, and peel away clothes as if they were the skin of some tropical fruit, covering a colorful and juicy interior. We hunt for bodily pleasures, and collect them as prizes; show them off in social situations as if our companions were some sort of extended adornment to ourselves. We are revealed in our sensuality. To touch beneath the surface; to connect beyond facades, that unattainable discourse between individuals is put tentatively within reach in intimacy. To capture those moments is to capture the essence of what makes us human, and what ultimately sets us above and aside from the rest of nature. Capturing humanity in its most extravagant expressions is intoxicating. Vanity is by far my favorite sin, and it is an endless tale as infinite as humanity. Every person is but a stitch in a giant tapestry.
A.E. Samaan
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.
Zack Love (Sex in the Title: A Comedy about Dating, Sex, and Romance in NYC (Back When Phones Weren't So Smart))
The Memory Business Steven Sasson is a tall man with a lantern jaw. In 1973, he was a freshly minted graduate of the Rensselaer Polytechnic Institute. His degree in electrical engineering led to a job with Kodak’s Apparatus Division research lab, where, a few months into his employment, Sasson’s supervisor, Gareth Lloyd, approached him with a “small” request. Fairchild Semiconductor had just invented the first “charge-coupled device” (or CCD)—an easy way to move an electronic charge around a transistor—and Kodak needed to know if these devices could be used for imaging.4 Could they ever. By 1975, working with a small team of talented technicians, Sasson used CCDs to create the world’s first digital still camera and digital recording device. Looking, as Fast Company once explained, “like a ’70s Polaroid crossed with a Speak-and-Spell,”5 the camera was the size of a toaster, weighed in at 8.5 pounds, had a resolution of 0.01 megapixel, and took up to thirty black-and-white digital images—a number chosen because it fell between twenty-four and thirty-six and was thus in alignment with the exposures available in Kodak’s roll film. It also stored shots on the only permanent storage device available back then—a cassette tape. Still, it was an astounding achievement and an incredible learning experience. Portrait of Steven Sasson with first digital camera, 2009 Source: Harvey Wang, From Darkroom to Daylight “When you demonstrate such a system,” Sasson later said, “that is, taking pictures without film and showing them on an electronic screen without printing them on paper, inside a company like Kodak in 1976, you have to get ready for a lot of questions. I thought people would ask me questions about the technology: How’d you do this? How’d you make that work? I didn’t get any of that. They asked me when it was going to be ready for prime time? When is it going to be realistic to use this? Why would anybody want to look at their pictures on an electronic screen?”6 In 1996, twenty years after this meeting took place, Kodak had 140,000 employees and a $28 billion market cap. They were effectively a category monopoly. In the United States, they controlled 90 percent of the film market and 85 percent of the camera market.7 But they had forgotten their business model. Kodak had started out in the chemistry and paper goods business, for sure, but they came to dominance by being in the convenience business. Even that doesn’t go far enough. There is still the question of what exactly Kodak was making more convenient. Was it just photography? Not even close. Photography was simply the medium of expression—but what was being expressed? The “Kodak Moment,” of course—our desire to document our lives, to capture the fleeting, to record the ephemeral. Kodak was in the business of recording memories. And what made recording memories more convenient than a digital camera? But that wasn’t how the Kodak Corporation of the late twentieth century saw it. They thought that the digital camera would undercut their chemical business and photographic paper business, essentially forcing the company into competing against itself. So they buried the technology. Nor did the executives understand how a low-resolution 0.01 megapixel image camera could hop on an exponential growth curve and eventually provide high-resolution images. So they ignored it. Instead of using their weighty position to corner the market, they were instead cornered by the market.
Peter H. Diamandis (Bold: How to Go Big, Create Wealth and Impact the World (Exponential Technology Series))