Short Photography Quotes

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

A paradox: the same century invented History and PHotography. But History is a memory fabricated according to positive formulas, a pure intellectual discourse which abolishes mythic Time; and the Photograph is a certain but fugitive testimony; so that everything, today, prepares our race for this impotence: to be no longer able to conceive duration, affectively or symbolically: the age of the Photograph is also the age of revolutions, contestations, assassinations, explosions, in short, of impatiences, of everything which denies ripening.

it was montage that gave birth to film as an art, setting it apart from mere animated photography, in short, creating a language.

Our thoughts, feelings, desires and actions are being robotized; 'life' is coming to mean feeding apparatuses and being fed by them. In short: Everything is becoming absurd. So where is there room for human freedom?

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

Nudity and explicit sex are far more easily available now than are clear images of death. The quasi-violence of movies and television dwells on the lively acts of killing – flying kicks, roaring weapons, crashing cars, flaming explosions. These are the moral equivalents of old-time cinematic sex. The fictional spurting of gun muzzles after flirtation and seduction but stop a titillating instant short of actual copulation. The results of such aggressive vivacity remain a mystery. The corpse itself, riddled and gaping, swelling or dismembered, the action of heat and bacteria, of mummification or decay are the most illicit pornography.

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.

He's got a box with a demon in it that draws pictures," said Rincewind shortly. "Do what the madman says and he will give you gold.

Of all the inventions Addie has seen her ushered into the world — steam-powered trains, electric lights, photography, and phones, and airplanes, and computers — movies might just be her favorite one. Books are wonderful, portable, lasting, but sitting there, in the darkened theater, the wide screen filling her vision, the world falls away, and for a few short hours she is someone else, plunged into romance and intrigue and comedy and adventure.

photography was “a circus kind of business, and unfit for a gentleman to engage in.

Oh, would that we had always lived in a world in which every man, woman and child came equipped with a device for audio recording, still photography, and short films.

I’m not sure, though, what “for later” means anymore. Something changed in the world. Not too long ago, it changed, and we know it. We don’t know how to explain it yet, but I think we all can feel it, somewhere deep in our gut or in our brain circuits. We feel time differently. No one has quite been able to capture what is happening or say why. Perhaps it’s just that we sense an absence of future, because the present has become too overwhelming, so the future has become unimaginable. And without future, time feels like only an accumulation. An accumulation of months, days, natural disasters, television series, terrorist attacks, divorces, mass migrations, birthdays, photographs, sunrises. We haven’t understood the exact way we are now experiencing time. And maybe the boy’s frustration at not knowing what to take a picture of, or how to frame and focus the things he sees as we all sit inside the car, driving across this strange, beautiful, dark country, is simply a sign of how our ways of documenting the world have fallen short. Perhaps if we found a new way to document it, we might begin to understand this new way we experience space and time. Novels and movies don’t quite capture it; journalism doesn’t; photography, dance, painting, and theater don’t; molecular biology and quantum physics certainly don’t either. We haven’t understood how space and time exist now, how we really experience them. And until we find a way to document them, we will not understand them.

I came here in a car like everybody else. In a car filled with shit I thought meant something and shortly thereafter tossed on the street: DVDs, soon to be irrelevant, a box of digital and film cameras for a still-latent photography talent, a copy of On the Road that I couldn’t finish, and a Swedish-modern lamp from Walmart. It was a long, dark drive from a place so small you couldn’t find it on a generous map...Does anyone come to New York clean? I’m afraid not….Yes, I’d come to escape, but from what? The twin pillars of football and church? The low, faded homes on childless cul-de-sacs? Morning of the Gazette and boxed doughnuts? The sedated, sentimental middle of it? It didn’t matter. I would never know exactly, for my life, like most, moved only imperceptibly and definitely forward...Let’s say I was born in late June of 2006 when I came over the George Washington Bridge at seven a.m. with the sun circulating and dawning, the sky full of sharp corners of light, before the exhaust rose, before the heat gridlocked in, windows unrolled, radio turned up to some impossibly hopeful pop song, open, open, open.

The illiterate of the future’, it has been said, ‘will not be the man who cannot read the alphabet, but the one who cannot take a photograph’. But must we not also count as illiterate the photographer who cannot read his own pictures? Will not the caption become the most important component of the shot?

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

NOVEL, n. A short story padded. A species of composition bearing the same relation to literature that the panorama bears to art. As it is too long to be read at a sitting the impressions made by its successive parts are successively effaced, as in the panorama. Unity, totality of effect, is impossible; for besides the few pages last read all that is carried in mind is the mere plot of what has gone before. To the romance the novel is what photography is to painting. Its distinguishing principle, probability, corresponds to the literal actuality of the photograph and puts it distinctly into the category of reporting; whereas the free wing of the romancer enables him to mount to such altitudes of imagination as he may be fitted to attain; and the first three essentials of the literary art are imagination, imagination and imagination. The art of writing novels, such as it was, is long dead everywhere except in Russia, where it is new. Peace to its ashes — some of which have a large sale.

The silence of the image is equalled only by the silence of the masses and the silence of the desert. The dream would be to be a photographer without a lens, to move through the world without a camera, in short, to pass beyond photography and see things as though they had themselves passed beyond the image, as though you had already photographed them, but in a past life. And perhaps we have indeed already passed through the image phase, in the way we pass through different animal phases, the mirror phase being a mere reverberation of all this in our individual lives.

Mr. Marsham was born (in 1822) into a world that was still essentially medieval—a place of candlelight, medicinal leeches, travel at walking pace, news from afar that was always weeks or months old—and lived to see the introduction of one marvel after another: steamships and speeding trains, telegraphy, photography, anesthesia, indoor plumbing, gas lighting, antisepsis in medicine, refrigeration, telephones, electric lights, recorded music, cars and planes, skyscrapers, motion pictures, radio, and literally tens of thousands of tiny things more, from mass-produced bars of soap to push-along lawn mowers.

Of all the inventions Addie has seen ushered into the world—steam-powered trains, electric lights, photography, and phones, and airplanes, and computers—movies might just be her favorite one. Books are wonderful, portable, lasting, but sitting there, in the darkened theater, the wide screen filling her vision, the world falls away, and for a few short hours she is someone else, plunged into romance and intrigue and comedy and adventure. All of it complete with 4K picture and stereo sound. A quiet heaviness fills her chest when the credits roll. For a while she was weightless, but now she returns to herself, sinking until her feet are back on the ground.

To be constantly and creatively inspired is a wonderful state to be in, and leads to a happy, bright, and varied life—and one that I want to achieve on a daily basis. I like to consider myself less of a photographer and more of a creator of worlds, a purveyor of magic, or in short, an inventor of inspiration. To be able to find inspiration at the drop of a hat can be the difference between feeling fulfilled and feeling like something vital is missing from our life. Often the difference between the two states is paper thin, and getting from one to the other is as simple as flipping a switch in our mind. The ability to see the world in a different and more inspiring way is something worth aiming for, because if we can achieve this, then our creativity will know no bounds.

Often interfaces are assumed to be synonymous with media itself. But what would it mean to say that “interface” and “media” are two names for the same thing? The answer is found in the remediation or layer model of media, broached already in the introduction, wherein media are essentially nothing but formal containers housing other pieces of media. This is a claim most clearly elaborated on the opening pages of Marshall McLuhan’s Understanding Media. McLuhan liked to articulate this claim in terms of media history: a new medium is invented, and as such its role is as a container for a previous media format. So, film is invented at the tail end of the nineteenth century as a container for photography, music, and various theatrical formats like vaudeville. What is video but a container for film. What is the Web but a container for text, image, video clips, and so on. Like the layers of an onion, one format encircles another, and it is media all the way down. This definition is well-established today, and it is a very short leap from there to the idea of interface, for the interface becomes the point of transition between different mediatic layers within any nested system. The interface is an “agitation” or generative friction between different formats. In computer science, this happens very literally; an “interface” is the name given to the way in which one glob of code can interact with another. Since any given format finds its identity merely in the fact that it is a container for another format, the concept of interface and medium quickly collapse into one and the same thing.

Life is too short for bad photos...

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).

It is easy to underrate how long it takes to implement a new idea. Researchers estimate that it takes 30 years for a groundbreaking development to progress from initial idea to a commercially viable product. Middle management often extols the value of short-term strategies that react to market circumstances. Kodak used short-term strategies to keep its analogue photography business going. But the expression 'short-term strategy' is in fact an oxymoron, because trying to reach short-term goals is not strategic by definition.

Indeed, is not the homecoming amateur with his vast number of artistic snaps more contented than the hunter, returning laden with the game which is only of value to the trader.

I expect you know what this is, don’t you?” Rincewind stared down at the box. It had a round glass eye protruding from the center of one face, and a lever at the back. Not wholly”, he said. It’s a device for making pictures quickly”, said Twoflower. „Quite a new invention. I’m rather proud of it but, look, I don’t think these gentlemen would – well, I mean they might be – sort of apprehensive? Could you explain it to them? I’ll reimburse them for their time, of course.” He’s got a box with a demon in it that draws pictures”, said Rincewind shortly. Do what the madman says and he’ll give you gold.

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

Governments, as we have seen, look to art as a social salve, and hope that socially interactive art will act as bandaging for the grave wounds continually prised open by capital.

Freud proposes that the relation of unconscious memories to conscious perception is like that of the negative to the photographic print: "It has long since become common knowledge that the experience of the first five years of childhood exert a decisive influence on our life. ... The process may be compared to a photograph, which can be developed and made into a picture after a short or long interval." The powerful force of early childhood experiences remains latent and inaccessible, just as a negative can remain unprocessed for a long period of time before being made into a positive print.

you will no longer be thinking in terms of recording a scene, but rather in terms of interpreting a scene. You will no longer be showing merely what you saw, but how you reacted to it. You will no longer be reporting on scenes; instead, you will be commenting on them. In short, you will be using photography as a means of personal expression.

Provide a full biography. Some of your readers will be more interested in your full bio. This is the place to provide it. You should share your education, your work history, any books you have written, current interests or hobbies, your family, and so forth. The more you can be a real person, the more people will connect with you. 105 10. Tell them how to contact you. Why hide this? Make it easy. Though it sometimes creates additional work for me, I enjoy hearing from my readers and even answering questions as time permits. (Make it clear what not to contact you about too.) You will also want visitors to follow you on Twitter and Facebook, so provide links to those pages. Finally, you might want to create a separate About page for your Twitter profile so you can make your page more specific to Twitter followers. This is the page you then link to in your Twitter profile. While this list provides a top ten, there are a couple of additional items you might want to include. These are, in my opinion, optional: 11. Include a photo or video. Since I currently have several on my sidebar already (they rotate with every screen refresh), I don’t have a separate one on my About page. If you don’t have one there, please do include one on your About page. People want to see what you look like! And, please, if you’re forty, don’t use your high school graduation picture or a Photoshopped photo. Be authentic. Be real. You might also consider adding a short video welcome. This could add even more personality and warmth. 12. Add a colophon. Publishers used to add these at the end of books to describe details about the fonts and paper used. You can use it to describe the technologies you are using in your blog (e.g., blogging system, themes, hosting service, and so on), along with design notes about type fonts, photography, and anything else you deem noteworthy. You’d be surprised at how many e-mails I get about these items every week. 13. Consider a disclaimer. This is especially important if you work for someone else. You don’t want your readers to confuse your blog posts with your company or organization’s official position.

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