Self Photography Quotes

When words become unclear, I shall focus with photographs. When images become inadequate, I shall be content with silence.

A great photograph is a full expression of what one feels about what is being photographed in the deepest sense and is thereby a true expression of what one feels about life in its entirety.

All my images are self-portraits, even when I'm not in them.

A society where feminine beauty is defined not by the human self on genuine intellectual and sentimental grounds, but by a computer software on the grounds of economic interest, is more dead than alive. It is a society of human bodies, not human beings.

To get the best view of life, you have to reach heights above the life.

If you don’t capture the moments, it will be gone forever.

Photoghraphic projects can be as short as an afternoon or as long as a lifetime.

Throughout their lifetime, most women learn to be uncomfortable with their physical appearance. They create a mask of makeup that is intended to “fix” their “imperfections.” They identify so much with this mask they reject their true beauty. Feminine Transitions encourages women to remove their masks and love their true selves, completely.

I see myself through others eyes and I am made anew.

Most of Arbus's work lies within the Warhol aesthetic, that is, defines itself in relation to the twin poles of boringness and freakishness; but it doesn't have the Warhol style. Arbus had neither Warhol's narcissism and genius for publicity nor the self-protective blandness with which he insulates himself from the freaky nor his sentimentality. It is unlikey that Warhol, who comes from a working-class family, ever felt any ambivalence toward success which afflicted the children of the Jewish upper middle classes in the 1960s. To someone raised as a Catholic, like Warhol (and virtually everyone in his gang), a fascination with evil comes much more genuinely than it does to someone from a Jewish background. Compared with Warhol, Arbus seems strikingly vulnerable, innocent--and certainly more pessimistic. Her Dantesque vision of the city (and the suburbs) has no reserves of irony. Although much of Arbus's material is the same as that depicted in, say, Warhol's Chelsea Girls (1966)...For Arbus, both freaks and Middle America were equally exotic: a boy marching in a pro-war parade and a Levittown housewife were as alien as a dwarf or a transvestite; lower-middle-class suburbia was as remote as Times Square, lunatic asylums, and gay bars. Arbus's work expressed her turn against what was public (as she experienced it), conventional, safe, reassuring--and boring--in favor of what was private, hidden, ugly, dangerous, and fascinating. These contrasts, now, seem almost quaint. What is safe no long monopolizes public imagery. The freakish is no longer a private zone, difficult of access. People who are bizarre, in sexual disgrace, emotionally vacant are seen daily on the newsstands, on TV, in the subways. Hobbesian man roams the streets, quite visible, with glitter in his hair.

Through photography and image I have been afforded the privilege of sharing the stories and myths of people's lives with others. The process for me became self-revelatory. It was a process of soul-making, something all humans are engaged in, no matter their endeavor. I saw a part of myself in each person I photographed. I came to realize, through the alchemical process of living, that each life is important, no matter how little that life seems to offer.

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.

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.

Original art emanates in the mind ... and lessons society's confusion from self indulgence, avarice and greed to trust, hope and love.

What I am or am not wearing does not correlate with my competency as a professional, a mother, or a feminist role model. My clothes do not define me and nor does my nakedness. I define me.

I refuse to have my vagina photographed because I have no interest in being desired on the basis of its appearance. It has taken me decades to appreciate its power and beauty, and not merely because it birthed a child. Responsive to tenderness and the source of a luminous ecstasy, my vagina has enabled me to transcend an otherwise limited sense of self. I feel no need to make it conform to another’s aesthetic or have it applauded by strangers.

Competition does not drive me. I do things better for pleasure and without trying. I mistakenly studied difficult subjects that were no use to me when I might have studied the arts for pleasure, which would have smoothed my path. I wasted time trying to be good at math. I taught myself the things that mattered to me most: to write and to take pictures.

All writing is essentially autobiographical because our composed thought patterns reflect our accumulated life experiences. At some level, every type of work, whether it is literature, poetry, music, painting, photography, sculpture, or architecture, is always a portrait of the creator. We cannot escape ourselves any more than we can outrun our shadow.

Both photography and meditation require an ability to focus steadily on what is happening in order to see more clearly. To see in this way involves shifting to a frame of mind in which the habitual view of a familiar and self-evident world is replaced by a keen sense of the unprecedented and unrepeatable configuration of each moment. Whether you are paying mindful attention to the breath as you sit in meditation or whether you are composing an image in a viewfinder, you find yourself hovering before a fleeting, tantalizing reality.

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.

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

You yearn for what was. You're a dead guy's daughter, thoroughly, you understand Paula Fox and you aspire to make sense of all things Old West. Which makes your settling, even temporary in New York a self destructive move. You're compassionate, you wrote about old actors because of the photography books in your apartment, so many pictures of places you can't go because they aren't there anymore. You're a romantic, searching for Coney Island, minus and drug dealers and the gum wrappers, and an innocent California where real cowboys and fake cowboys traded stories over cups of coffee they called Joe. You want to go places you can't go.

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.

The only genuinely photographic subjects are those which are violated, taken by surprise, discovered or exposed despite themselves, those which should never have been represented because they have neither self-image nor selfconsciousness. The savage - like the savage part of us - has no reflection. He is savagely foreign to himself. The most seductive women are the most selfestranged (Marilyn). Good photography does not represent anything: rather, it captures this non-representability, the otherness of that which is foreign to itself (to desire, to self-consciousness), the radical exoticism of the object. Objects, like primitives, are way ahead of us in the photogenic stakes: they are free a priori of psychology and introspection, and hence retain all their seductive power before the camera. Photography records the state of the world in our absence. The lens explores this absence; and it does so even in bodies and faces laden with emotion, with pathos. Consequently, the best photographs are photographs of beings for which the other does not exist, or no longer exists (primitives, the poor, objects). Only the non-human is photogenic. Only when this precondition is met does a kind of reciprocal wonder come into play - and hence a collusiveness on our part vis-a-vis the world, and a collusiveness on the part of the world with respect to us.

Photography is our exorcism. Primitive society had its masks, bourgeois society its mirrors, and we have our images. We believe that we bend the world to our will by means of technology. In fact it is the world that imposes its will upon us with the aid of technology, and the surprise occasioned by this turning of the tables is considerable. You think you are photographing a scene for the pleasure of it, but in fact it is the scene that demands to be photographed, and you are merely part of the decor in the pictorial order it dictates. The subject is no more than the funnel through which things in their irony make their appearance. The image is the ideal medium for the vast self-promotion campaign undertaken by the world and by objects - forcing our imagination into self-effacement, our passions into extraversion, and shattering the mirror which we hold out (hypocritically, moreover) in order to capture them. The miraculous thing about the present period is that appearances, so long reduced to a voluntary servitude, have now become sovereign, and turned back towards (and against) us by means of the very technology from which we had earlier evicted them. Today they come from elsewhere, from their own place, from the heart of their banality, of their objectality: they surge forth on all sides, multiplying of their own accord, and joyfully. (The joy of taking photographs is an objective joy, and anyone who has never felt the objective transports of the image, some morning, in some town or desert, will never understand the pataphysical delicacy of the world.)

Self-Obsession & Self-Presentation on Social-Media" Some people always post their cars/bikes photos because they love their cars/bikes so much. Some people always post their dogs/cats/birds/fish/pets photos because they love their pets so much. Some people always post their children’s/families photos because they love their children/families so much. Some people always post their daily happy/sad moments because they love sharing their daily lives so much. Some people always post their poems/songs/novels/writings because they love being poets/lyricists/novelists/writers so much. Some people always copy paste other people’s writings/quotes without mentioning the actual writers name because they love seeking attention/fame so much. [Unacceptable & Illegal] Some people always post their plants/garden’s photos because they love planting/gardening so much. Some people always post their art/paintings because they love their creativity so much. Some people always post their home-made food because they love cooking/thoughtful-presentation so much. Some people always post their makeup/hairstyles selfies because they love wearing makeup/doing hair so much. Some people always post their party related photos because they love those parties so much. Some people always post their travel related photos because they love traveling so much. Some people always post their selfies because they love taking selfies so much. Some people always post restaurant/street-foods because they love eating in restaurants/streets so much. Some people always post their job-related photos because they love their jobs so much. Some people always post religious things because they love spreading their religion so much. Some people always post political things because they love politics/power so much. Some people always post inspirational messages because they love being spiritual. Some people always share others posts because they love sharing links so much. Some people always post their creative photographs because they love photography so much. Some people always post their business-related products because they love advertising so much. And some people always post complaints about other people’s post because they love complaining so much

What I am or am not wearing does not correlate with my competency as a professional, a mother, or a feminist role model. My clothes don't define me and neither does my nakedness. I define me.

Even though this isn’t going to be fun, it is where you are going. So hold on. But keep your eyes open or you might miss the good parts.

It is a particular sensation, this double consciousness, this sense of always looking at ones self through the eyes of another.

As for photography, if you aren’t in the photo you’re taking, your picture is probably terrible... Unless there’s something actually unique, you might not want to waste your time doing what everyone else is already doing better for free.

I conceived the idea from my personal everyday experience, so what's better than to capture myself in the perfect mood.

She was obviously wearing her best clothes and had the self-conscious, wooden smile on her face that so often disfigures the expression in posed photography, and makes a snapshot preferable.

By inviting women to compare their own real image with the airbrushed perfection of the media, advertising erodes self-esteem, then offers to sell it back, for a price.

The most beautiful of all photographs are those taken of savages in their natural surroundings. The savage is always confronting death, and he confronts the lens in exactly the same manner. He does not ham it up, nor is he indifferent. He always poses; he faces up to the camera. His achievement is to transform this technical operation into a face-to-face confrontation with death. This is what makes these pictures such powerful and intense photographic objects. As soon as the lens fails to capture this pose, this provocative obscenity of the object facing death, as soon as the subject begins to collude with the lens, and the photographer too becomes subjective, the 'great game' of photography is over. Exoticism is dead. Today it is very hard indeed to find a subject - or even an object - that does not collude with the camera lens. The only trick here, generally speaking, is to be ignorant of how one's subjects live. This gives them a certain aura of mystery, a savagery, which the successful picture captures. It also captures a gleam of ingenuity, of fatality, in their faces, betraying the fact that they do not know who they are or how they live. A glow of impotence and awe that is completely lacking in our tribes of worldly, devious, fashion-conscious and self-regarding people, always well-versed in the subject of themselves - and hence devoid of all mystery. For such people the camera is merciless.

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

The sounds of music have dimmed into a self-censored silence. We pause, we gaze for far too long at the markets from a broken window where Kabul's finest orchestras weeks ago were still learning to play. We linger, remembering what used to be.

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

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

A maternity shoot is a wonderful way for couples to bond and connect emotionally as they prepare to become parents. It's a shared experience that strengthens the bond between partners. Pregnancy can bring about changes in your body that may make you feel self-conscious. A maternity shoot is an opportunity to feel confident and beautiful in your own skin. Maternity photography is a form of artistic expression. Photographers use their skills to capture the magic of pregnancy, resulting in stunning and creative images.

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

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).

During the worst episodes of psychosis, photography is a tool my sick self uses to believe in what exists. The photographs become tools for my well self to reexperience the loss. They are a bridge, or a mizpah—a Hebrew noun referring to the emotional ties between people, and especially between people separated by distance or death—between one self and the other. The well person has the job of translating the images that the sick person has left behind as evidence.

Preserving the self has meant, in my case, making photographs (lots of them) in a conscious attempt to reconcile the conflict between what is and what is not. This vocation has shown me that such reconciliations - to the extent they are even achievable - could never have just happened in my head. What I seem to require instead is the friction of the materially circumscribed activity of photography: an activity that uniquely entangles the actual and the imaginary, and which results in a beguilingly inscrutable product: a new thing in the world that is itself a conditional accord between what is given in the real and what is possible in the mind.

Sun Sign: Sagittarius Sagittarians are the explorers of the zodiac. Wild and adventurous—and sometimes curious to a fault—they are on a perpetual quest to discover not only the world around them, but the world within them, too. They have an insatiable appetite for knowledge and truth and can be relentless in their pursuit to get what they want. They know that while external knowledge is easy to come by and useful to an extent, self-knowledge holds more value and more power in the long run. It’s no surprise that Silas uses photography to capture the world around him, and to hold on to memories in a more tangible way. One of the Fire Signs, Sagittarians burn bright and are up for anything, wanting

Are you looking for a creative and unique way to express yourself through self-portraits? Welcome to Monography, your go-to self-portrait studio where you can unleash your creativity and capture stunning images that reflect your individuality. At Monography, we understand the power of self-expression and the art of self-portraiture. Our studio is specially designed to provide you with a comfortable and inspiring space to explore your inner artist and create captivating self-portraits that tell your story.

Oftentimes my pictures do not describe grand things or places, and sometimes they are not grand pictures—but they mean something to me.

As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art.

In an inexplicable way he was quite different from anyone else....He was smallish, neat, solidly built....Possibly he was a man who at once became self-conscious before a camera. Even snapshots tend to give him an air of swagger, a kind of cockiness he did not possess at all. [On. F. Scott Fitzgerald]

Imagine what you can give in these areas of the Twelve Areas of Balance: 9.​YOUR CAREER. What are your visions for your career? What level of competence do you want to achieve and why? How would you like to improve your workplace or company? What contribution to your field would you like to make? If your career does not currently seem to contribute anything meaningful to the world, take a closer look—is that because the work is truly meaningless or does it just not have meaning to you? What career would you like to get into? 10.​YOUR CREATIVE LIFE. What creative activities do you love to do or what would you like to learn? It could be anything from cooking to singing to photography (my own passion) to painting to writing poetry to developing software. What are some ways you can share your creative self with the world? 11.​YOUR FAMILY LIFE. Picture yourself being with your family not as you think you “should” be but in ways that fill you with happiness. What are you doing and saying? What wonderful experiences are you having together? What values do you want to embody and pass along? What can you contribute to your family that is unique to you? Keep in mind that your family doesn’t have to be a traditional family—ideas along those lines are often Brules. “Family” may be cohabiting partners, a same-sex partner, a marriage where you decided not to have children, or a single life where you consider a few close friends as family. Don’t fall into society’s definition of family. Instead, create a new model of reality and think of family as those whom you truly love and want to spend time with. 12.​YOUR COMMUNITY LIFE. This could be your friends, your neighborhood, your city, state, nation, religious community, or the world community. How would you like to contribute to your community? Looking at all of your abilities, all of your ideas, all of the unique experiences you’ve had that make you the person you are, what is the mark you want to leave on the world that excites and deeply satisfies you? For me, it’s reforming global education for our children. What is it for you? This brings us to Law 8. Law 8: Create a vision for your future. Extraordinary minds create a vision for their future that is decidedly their own and free from expectations of the culturescape. Their vision is focused on end goals that strike a direct chord with their happiness.

Modernist art photographs were meant to be autonomous, that is, to stand alone, without need for extra information. This is not to say that modernist images do not benefit from interpretation – photographic criticism came into its own in the modernist period – but the prevailing paradigm under modernism was that the best art photographs were entirely self-sufficient.

Woodman was always, her friend Giuseppe Gallo said, single-mindedly thinking about photography. Never distracted. "Every moment of Francesca's life," he said, "was in preparation for a photograph." One is more easily prepared with an always-ready model, and what subject is more available for exploration than the self? What better stuff to make art of if one is an ambitious artist, which Woodman undoubtedly was? Why not, as a writer, create essays in which I myself appear?

I put together artwork like tiny pieces of a puzzle, with hopes of one day seeing the whole complete picture and therefore understanding myself more.

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.

it is not selfish to be into loving yourself, and be into doing what you love, nor is it selfish to protect those things your love flows into...if anyone questions and doesn't support your methods and reasons for protecting your loves, then they are seriously the true selfish ones...

A lady recently said to me, “Lebo, the passion you have for women is so deep. I don’t think I have half the passion you have for my own self and I’m a woman.” Truth is, every man inherently has this drive whether they aware of it or not. We, as men, whether gay or straight, live to unravel the sensual mystery/beauty of the feminine energy. Not to sound like a male chauvinist, but I believe this is one of the biggest reasons why as Tom Ford said, “Men are often better designers for women than other women.” It is this approach of “mining” and wanting to “unravel” the sensual feminine mystery/beauty that serves as our biggest drive or motivation. Male designers (i.e. David tlale, Gert Johan Coetzee, Christian Louboutin, Tomford, ME, etc.) are very exceptional at their craft because I believe they have this deep acknowledgement that they were first and foremost “CALLED” TO PUT WOMEN ON A PEDESTAL, and that means understanding that women want to feel overwhelmingly desired rather than rationally considered. By the way, women are not given the luxury to unravel their own sensual feminine mystery/beauty as men are. Women in general tend to have a very limited perspective of themselves which prevents them from reaching their fullest sensual feminine potential. Blame it on the society. Their biggest challenge is seeing themselves beyond their insecurities; they’re trapped by their own views of themselves particularly as women in a patriarchal society. But men (NOT patriarchal men), on the other hand, are able to see beyond women’s insecurities; they can see women’s potential than most women can see themselves. AND AWAKENED MODERN MEN WANT TO FULLY MAXIMIZE THAT POTENTIAL. This is why I strongly believe that a man’s ultimate role in the 21st century is to help carve the definition of what it means to be a woman. I know most feminists are pissed to hear me say that. The legendary photographer Peter Lindbergh said, “The most important part of fashion photography, for me, is not the models; it is not the clothes. It’s that you are responsible for defining what a woman today is. That, I think, is my job.” If women are diamonds/gold, then men got to be jewelry designers.