c2p-cmd/Good-Quotes-Authors huggingface dataset:
The myth that if you don't start early, you might as well not start, tends to be a self-fulfilling prophecy. The music-making world that young people confront reminds me a lot of the world of school sports. After a lot of weeding out, in the end you've got a varsity with a few performers and an awful lot of people on the sidelines thinking, "Gee, it's too bad I wasn't good enough." We need to be careful about that. There seems to be an unspoken idea, in instruction of the young, that the people who start the fastest will go the farthest. But that's not only an unproven theory; it's not even a tested theory. The assumption that the steeper the learning curve, the higher it will go, is also unfounded. If we did things a little differently, we might find out that people whose learning curves were much slower might later on go up just as high or higher.
— John Holt, Learning All The Time
The love for books is a paradise.
— Lailah Gifty Akita, Think Great: Be Great!
By educating the young, we are building a liberating potential force indirectly.
— Auliq Ice
Based on our badly borrowed misunderstanding of the words ‘secular’ and ‘spiritual’ we seemto have become blinded by the dominant intellectual ideology of our times, according to which schools as secular organizations are supposed to not have anything to do with matters of the spirit. Education has, therefore, become concerned only with matters of material life (eventually leading to commodification)... This dichotomy between 'education for social success' and education for spirit' must go if we want to make Indian Education more relevant for the future of India. Education needs to become more integral, more complete through a meaningful synthesis of the two.
— Beloo Mehra, ABC's of Indian National Education
Answer all the questions. Question all the answers.
— Laurie Gray
We read to learn.
— Lailah Gifty Akita, Think Great: Be Great!
Public education does not serve a public. It creates a public. And in creating the right kind of public, the schools contribute toward strengthening the spiritual basis of the American Creed. That is how Jefferson understood it, how Horace Mann understood it, how John Dewey understood it, and in fact, there is no other way to understand it. The question is not, Does or doesn't public schooling create a public? The question is, What kind of public does it create? A conglomerate of self-indulgent consumers? Angry, soulless, directionless masses? Indifferent, confused citizens? Or a public imbued with confidence, a sense of purpose, a respect for learning, and tolerance? The answer to this question has nothing whatever to do with computers, with testing, with teacher accountability, with class size, and with the other details of managing schools. The right answer depends on two things, and two things alone: the existence of shared narratives and the capacity of such narratives to provide an inspired reason for schooling.
— Neil Postman, The End of Education: Redefining the Value of School
If a man spreads his secret with his own tongue and blames another... then he is a fool. If his own breast is too narrow to conceal his own secret, then the breast of the one in whom he places it is even narrower.
— Imam ash-Shafi`i
It is time that we had uncommon schools, that we did not leave off our education when we begin to be men and women.
— Henry David Thoreau, Walden
But as I mastered the material, homework ceased to be necessary. A no homework policy is a challenge to me," he adds. "I am forced to create lessons that are so good no further drilling is required when the lessons are completed.
— Alfie Kohn, The Homework Myth: Why Our Kids Get Too Much of a Bad Thing
Teaching is a craft
—  it's not something you memorize and do...
When you photograph people in color, you photograph their clothes. But when you photograph people in Black and white, you photograph their souls!
— Ted Grant
To the complaint, 'There are no people in these photographs,' I respond, There are always two people: the photographer and the viewer.
— Ansel Adams
When people look at my pictures I want them to feel the way they do when they want to read a line of a poem twice.
— Robert Frank
Today everything exists to end in a photograph.
— Susan Sontag
There are no rules for good photographs, there are only good photographs.
— Ansel Adams
There is nothing worse than a sharp image of a fuzzy concept.
— Ansel Adams
A photograph is a moral decision taken in one eighth of a second. 
— Salman Rushdie, The Ground Beneath Her Feet
The eye should learn to listen before it looks.
— Robert Frank
Always seeing something, never seeing nothing, being photographer
— Walter De Mulder
To photograph people is to violate them, by seeing them as they never see themselves, by having knowledge of them that they can never have; it turns people into objects that can be symbolically possessed. Just as a camera is a sublimation of the gun, to photograph someone is a subliminal murder - a soft murder, appropriate to a sad, frightened time.
— Susan Sontag, On Photography
Photography is a reality so subtle that it becomes more real than reality.
— Alfred Stieglitz
People spot a big black lens, and they worry about what they're doing, or how their hair looks. Nobody see the person holding the camera.
— Erica O'Rourke, Torn
Above all, life for a photographer cannot be a matter of indifference
— Robert Frank
The painter constructs, the photographer discloses.
— Susan Sontag, On Photography
Ultimately — or at the limit — in order to see a photograph well, it is best to look away or close your eyes. 'The necessary condition for an image is sight,'Janouch told Kafka; and Kafka smiled and replied: 'We photograph things in order to drive them out of our minds. My stories are a way of shutting my eyes.
— Roland Barthes, Camera Lucida: Reflections on Photography
Landscape photography is the supreme test of the photographer - and often the supreme disappointment. 
— Ansel Adams
It is photography itself that creates the illusion of innocence. Its ironies of frozen narrative lend to its subjects an apparent unawareness that they will change or die. It is the future they are innocent of. Fifty years on we look at them with the godly knowledge of how they turne dout after all - who they married, the date of their death - with no thought for who will one day be holding photographs of us.
— Ian McEwan, Black Dogs
The whole point of taking pictures is so that you don’t have to explain things with words.
— Elliott Erwitt
To photograph: it is to put on the same line of sight the head, the eye and the heart.
— Henri Cartier-Bresson
I tend to think of the act of photographing, generally speaking, as an adventure. My favorite thing is to go where I’ve never been.
— Diane Arbus
Photographers tend not to photograph what they can’t see, which is the very reason one should try to attempt it. Otherwise we’re going to go on forever just photographing more faces and more rooms and more places. Photography has to transcend description. It has to go beyond description to bring insight into the subject, or reveal the subject, not as it looks, but how does it feel?
— Duane Michals
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
What's really important is to simplify. The work of most photographers would be improved immensely if they could do one thing: get rid of the extraneous. If you strive for simplicity, you are more likely to reach the viewer. 
— William Albert Allard
It is no accident that the photographer becomes a photographer any more than the lion tamer becomes a lion tamer.
— Dorothea Lange
A photograph can be an instant of life captured for eternity that will never cease looking back at you.
— Brigitte Bardot
There is in fact something obscene and sinister about photography, a desire to imprison, to incorporate, a sexual intensity of pursuit.
— William S. Burroughs
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
When we define the Photograph as a motionless image, this does not mean only that the figures it represents do not move; it means that they do not (i)emerge(i), do not (i)leave(i): they are anesthetized and fastened down, like butterflies.
— Roland Barthes, Camera Lucida: Reflections on Photography
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
I would never understand photography, the sneaky, murderous taxidermy of it. 
— Lorrie Moore, Anagrams
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
The photograph is literally an emanation of the referent. From a real body, which was there, proceed radiations which ultimately touch me, who am here; the duration of the transmission is insignificant; the photograph of the missing being, as Sontag says, will touch me like the delayed rays of a star.
— Roland Barthes, Camera Lucida: Reflections on Photography
The Photograph is an extended, loaded evidence — as if it caricatured not the figure of what it represents (quite the converse) but its very existence ... The Photograph then becomes a bizarre (i)medium(i), a new form of hallucination: false on the level of perception, true on the level of time: a temporal hallucination, so to speak, a modest (o)shared(i) hallucination (on the one hand 'it is not there,' on the other 'but it has indeed been'): a mad image, chafed by reality.
— Roland Barthes, Camera Lucida: Reflections on Photography
One of the risks of appearing in public is the likelihood of being photographed.
— Diane Arbus
Life is not about significant details, illuminated a flash, fixed forever.Photographs are.
— Susan Sontag, On Photography
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
In an initial period, Photography, in order to surprise, photographs the notable; but soon, by a familiar reversal, it decrees notable whatever it photographs. The 'anything whatever' then becomes the sophisticated acme of value.
— Roland Barthes, Camera Lucida: Reflections on Photography
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
A professor I had in college used to tell me that if someone won’t listen to what you have to say because you’re not wearing a tie, then put on a tie, ’cause what you have to say is more important than not wearing a tie. He was right.
— Joe McNally
We all perform. It's what we do for each other all the time, deliberately or unintionally. It's a way of telling about ourselves in the hope of being recognized as what we'd like to be.--PERFORMANCE
— Richard Avedon
For Death must be somewhere in a society; if it is no longer (or less intensely) in religion, it must be elsewhere; perhaps in this image which produces Death while trying to preserve life. Contemporary with the withdrawal of rites, Photography may correspond to the intrusion, in our modern society, of an asymbolic Death, outside of religion, outside of ritual, a kind of abrupt dive into literal Death. 
— Roland Barthes, Camera Lucida: Reflections on Photography
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
A photograph is a click away. A good photograph is a hundred clicks away and a better one, a thousand clicks away
— Kowtham Kumar K
A photograph is a secret about a secret. The more it tells you, the less you know.
— Peter Gasser
If only I had thought of a Kodak! I could have flashed that glimpse of the Under-world in a second, and examined it at leisure.
— H.G. Wells, The Time Machine
I am a professional photographer by trade and an amateur photographer by vocation.
— Elliot Erwitt, Dog Dogs
For the photograph's immobility is somehow the result of a perverse confusion between two concepts: the Real and the Live: by attesting that the object has been real, the photograph surreptitiously induces belief that it is alive, because of that delusion which makes us attribute to Reality an absolute superior, somehow eternal value; but by shifting this reality to the past ('this-has-been'), the photograph suggests that it is already dead.
— Roland Barthes, Camera Lucida: Reflections on Photography
Still photographs are the most powerful weapon in the world. People believe them, but photographs do lie, even without manipulation. They are only half-truths.
— Eddie Adams
We know the original relation of the theater and the cult of the Dead: the first actors separated themselves from the community by playing the role of the Dead: to make oneself up was to designate oneself as a body simultaneously living and dead: the whitened bust of the totemic theater, the man with the painted face in the Chinese theater, the rice-paste makeup of the Indian Katha-Kali, the Japanese No mask ... Now it is this same relation which I find in the Photograph; however 'lifelike' we strive to make it (and this frenzy to be lifelike can only be our mythic denial of an apprehension of death), Photography is a kind of primitive theater, a kind of Tableau Vivant, a figuration of the motionless and made-up face beneath which we see the dead.
— Roland Barthes, Camera Lucida: Reflections on Photography
It is as if the Photograph always carries its referent with itself, both affected by the same amorous or funereal immobility, at the very heart of the moving world: they are glued together, limb by limb, like the condemned man and the corpse in certain tortures; or even like those pairs of fish (sharks, I think, according to Michelet) which navigate in convoy, as though united by an eternal coitus.
— Roland Barthes, Camera Lucida: Reflections on Photography
Each photograph is read as the private appearance of its referent: the age of Photography corresponds precisely to the explosion of the private into the public, or rather into the creation of a new social value, which is the publicity of the private: the private is consumes as such, publicly.
— Roland Barthes, Camera Lucida: Reflections on Photography
The key is to integrate our art into our life, not the other way around.
— Brooks Jensen, Letting Go of the Camera: Essays on Photography and the Creative Life
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
These are the two basic controls at the photographer's command--position and timing--all others are extensions, peripheral ones, compared to them
— David Hurn
What pricks me is the discovery of this equivalence. In front of the photograph of my mother as a child, I tell myself: She is going to die: I shudder… over a catastrophe which has already occurred. Whether or not the subject is already dead, every photograph is this catastrophe.
— Roland Barthes, Camera Lucida: Reflections on Photography
It's been said that the role of the artist is to teach us to see and that's true. However, the role of other artists is to teach me how they see. To learn how I see is somethig that cannot be taught but must be learned.
— Brooks Jensen, Letting Go of the Camera: Essays on Photography and the Creative Life
We regard the photograph, the picture on our wall, as the object itself (the man, landscape, and so on) depicted there. This need not have been so. We could easily imagine people who did not have this relation to such pictures. Who, for example, would be repelled by photographs, because a face without color and even perhaps a face in reduced proportions struck them as inhuman.
— Ludwig Wittgenstein
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 want a History of Looking. For the Photograph is the advent of myself as other: a cunning dissociation of consciousness from identity. Even odder: it was before Photography that men had the most to say about the vision of the double. Heautoscopy was compared with an hallucinosis
—  for centuries this was a great mythic theme.
Everything that flickered could be made permanent. That was what drew him to photography, what made every painstaking step worth it: the permanence of the image. That was what fascinated him, the working against time...
— Katie Roiphe, Still She Haunts Me
That frame of mind that you need to make fine pictures of a very wonderful subject, you cannot do it by not being lost yourself.
— Dorothea Lange
Any files I give to the model are downsized (typically 800x1200 pixels)... By not giving out my high resolution files, they cannot be used without my knowledge.
— A.K. Nicholas, True Confessions of Nude Photography: A Step-by-Step Guide to Recruiting Beautiful Models, Lighting, Photographing Nudes, Post-Processing Images, and Maybe Even Getting Paid to Do It.
Most things in life are moments of pleasure and a lifetime of embarrassment
—  photography is a moment of embarrassment and a lifetime of pleasure.
I am not a photographer , I am a canon owner !!!
— Walaa WalkademAgmal
As objects of contemplation, images of the atrocious can answer to several different needs. To steel oneself against weakness. To make oneself more numb. To acknowledge the existence of the incorrigible. 
— Susan Sontag, Regarding the Pain of Others
Usually the amateur is defined as an immature state of the artist: someone who cannot — or will not — achieve the mastery of a profession. But in the field of photographic practice, it is the amateur, on the contrary, who is the assumption of the professional: for it is he who stands closer to the (i)noeme(i) of Photography.
— Roland Barthes, Camera Lucida: Reflections on Photography
Photography is simultaneously and instantaneously the recognition of a fact and the rigorous organization of visually perceived forms that express and signify that fact
— Henri Cartier-Bresson
Guys don't understand great art. They don't care that sometimes the camera has power beyond the photographer to record emotion that only the heart can see. They're threatened when the camera jumps ahead of me. Todd Kovich was pissed when I brought my Nikon to the prom, but I'd missed too many transcendent shots over the years to ever take a chance of missing one again. A prom, I told him, had a boundless supply of photogenic bozos who could be counted on to do something base.
— Joan Bauer, Thwonk
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.
— Marisa de los Santos, Belong to Me
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
I imagine that the essential gesture of the Operator is to surprise something or someone (through the little hole in the camera), and that this gesture is therefore perfect when it is performed unbeknownst to the subject being photographed. From this gesture derive all photographs whose principle (or better whose alibi) is “shock”; for the photographic “shock” consists less in traumatizing than in revealing what was so well hidden that the actor himself was unaware or unconscious of it.
— Roland Barthes, Camera Lucida: Reflections on Photography
One of the marks of our world is perhaps this reversal: we live according to a generalized image-repertoire. Consider the United Sates, where everything is transformed into images: only images exist and are produced and are consumes ... Such a reversal necessarily raises the ethical question: not that the image is immoral, irreligious, or diabolic (as some have declared it, upon the advent of the Photograph), but because, when generalized, it completely de-realizes the human world of conflicts and desires, under cover of illustrating it.
— Roland Barthes, Camera Lucida: Reflections on Photography
The only thing they'll let you shoot with a camera.
— Jodi Picoult, Picture Perfect
Perhaps the central question about [Eliot] Porter's work is about the relationship between science, aesthetics, and environmental politics. His brother, the painter and critic Fairfield Porter, wrote in a 1960 review of [Porter's] colour photographs: 'There is no subject and background, every corner is alive,' and this suggests what an ecological aesthetic might look like. 
— Rebecca Solnit, Storming the Gates of Paradise: Landscapes for Politics
If you can see it, you can shoot it.
— Ted Grant
I don't trust words. I trust pictures.
— Gilles Peress
The context in which a photograph is seen affects the meaning the viewer draws from it.
— Stephen Shore
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
Another unary photograph is the pornographic photograph (I am not saying the erotic photograph: the erotic is a pornographic that has been disturbed, fissured). Nothing more homogeneous than a pornographic photograph. It is always a naive photograph, without intention and without calculation. Like a shop window which shows only one illuminated piece of jewelry, it is completely constituted by the presentation of only one thing: sex: no secondary, untimely object ever manages to half conceal, delay, or distract... A proof a contrario: Mapplethorpe shifts his close-ups of genitalia from the pornographic to the erotic by photographing the fabric of underwear at very close range: the photograph is no longer unary, since I am interested in the texture of the material. The presence (the dynamics) of this blind field is, I believe, what distinguishes the erotic photograph from the pornographic photograph. Pornography ordinarily represents the sexual organs, making them into a motionless object (a fetish), flattered like an idol that does not leave its niche; for me, there is no punctum in the pornographic image; at most it amuses me (and even then, boredom follows quickly). The erotic photograph, on the contrary (and this is its very condition), does not make the sexual organs into a central object; it may very well not show them at all; it takes the spectator outside its frame, and it is there that I animate this photograph and that it animates me.
— Roland Barthes, Camera Lucida: Reflections on Photography
The unary Photograph has every reason to be banal, 'unity' of composition being the first rule of vulgar (and notably, of academic) rhetoric: 'The subject,' says one handbook for amateur photographers, 'must be simple, free of useless accessories; this is called the Search for Unity.
— Roland Barthes, Camera Lucida: Reflections on Photography
I feel that the Photograph creates my body or mortifies it, according to its caprice (apology of this mortiferous power: certain Communards paid with their lives for their willingness or even their eagerness to pose on the barricades: defeated, they were recognized by Thiers's police and shot, almost every one).
— Roland Barthes, Camera Lucida: Reflections on Photography
Remember that even just watching animals has an impact. Intrusion into their living space can expose them to predation, keep them from feeding or other essential activities, or cause them to leave their young exposed to predation or the elements. No photo or viewing opportunity is worth harassing or stressing wildlife. In appreciating and watching them, we have a responsibility to protect and preserve the animals that share our state.
— Mary Taylor Young, The Guide to Colorado Mammals
It is by studium that I am interested in so many photographs, whether I receive them as political testimony or enjoy them as good historical scenes: for it is culturally (this connotation is present in studium) that I participate in the figures, the faces, the gestures, the settings, the actions.
— Roland Barthes, Camera Lucida: Reflections on Photography
Hence the detail which interests me is not, or at least is not strictly intentional, and probably must not be so; it occurs in the field of the photographed thing like a supplement that is at once inevitable and delightful; it does not necessarily attest to the photographer's art; it says only that the photographer was there, or else, still more simply, that he could not (i)not(i) photograph the partial object at the same time as the total object (how could Kerész have 'separated' the dirt road from the violinist walking on it?). The Photographer's 'second sight' does not consist in 'seeing' but in being there. And above all, imitating Orpheus, he must not turn back to look at what he is leading — what hi is giving to me!
— Roland Barthes, Camera Lucida: Reflections on Photography
Most people feel that the world looks like the photograph. I've always assumed that the photograph is nearly right, but that little bit by which it misses makes it miss by a mile. This is what I grope at.
— Martin Gayford, A Bigger Message: Conversations with David Hockney
The (i)studium(i) is ultimately always coded, the (i)punctum is not)...
— Roland Barthes, Camera Lucida: Reflections on Photography
Photographs are just light and time" - Aza Holmes
— John Green, Turtles All the Way Down
Every photo tells a story but remember this, there was a story teller behind the lens.
— Belinda Taylor
I look for ambiguity because life is ambiguous!
— Marko Stout
A photograph is a biography of a moment.
— Art Shay
The subject, timing and light makes a photograph, great. Greater, is the photographer when he senses these are right.
— Kowtham Kumar K
Knowing the right timings, good photographs. Learning from bad timings, better photographs.
— Kowtham Kumar K
Known as “Leni,” Helene Bertha Amalie Riefenstahl was born on August 22, 1902. During the Third Reich she was known throughout Germany as a close friend and confidant of the Adolf Hitler. Recognized as a strong swimmer and talented artist, she studied dancing as a child and performed across Europe until an injury ended her dancing career. During the 1920’s Riefenstahl was inspired to become an actress and starred in five motion pictures produced in Germany. By 1932 she directed her own film “Das Blaue Licht.” With the advent of the Hitler era she directed “Triumph des Willens” anf “Olympia” which became recognized as the most innovative and effective propaganda films ever made. Many people who knew of her relationship with Hitler insisted that they had an affair, although she persistently denied this. However, her relationship with Adolf Hitler tarnished her reputation and haunted her after the war. She was arrested and charged with being a Nazi sympathizer, but it was never proven that she was involved with any war crimes. Convinced that she had been infatuated and involved with the Führer, her reputation and career became totally destroyed. Her former friends shunned her and her brother, who was her last remaining relative, was killed in action on the “Eastern Front.” Seeing a bleak future “Leni” Riefenstahl left Germany, to live amongst the Nuba people in Africa. During this time Riefenstahl met and began a close friendship with Horst Kettner, who assisted her with her acknowledged brilliant photography. They became an item from the time she was 60 years old and he was 20. Together they wrote and produced photo books about the Nuba tribes and later filmed marine life. At that time she was one of the world's oldest scuba divers and underwater photographer. Leni Riefenstahl died of cancer on September 8, 2003 at her home in Pöcking, Germany and was laid to rest at the Munich Waldfriedhof.
— Captain Hank Bracker, "Suppresed I Rise"
Weston, having been born in Chicago, was raised with typical, well-grounded, mid-western values. On his 16th birthday, his father gave him a Kodak camera with which he started what would become his lifetime vocation. During the summer of 1908, Weston met Flora May Chandler, a schoolteacher who was seven years older than he was. The following year the couple married and in time they had four sons.Weston and his family moved to Southern California and opened a portrait studio on Brand Boulevard, in the artsy section of Glendale, California, called Tropico. His artistic skills soon became apparent and he became well known for his portraits of famous people, such as Carl Sandburg and Max Eastman. In the autumn of 1913, hearing of his work, Margrethe Mather, a photographer from Los Angeles, came to his studio, where Weston asked her to be his studio assistant. It didn’t take long before the two developed a passionate, intimate relationship. Both Weston and Mather became active in the growing bohemian cultural scene in Los Angeles. She was extremely outgoing and artistic in a most flamboyant way. Her bohemian sexual values were new to Weston’s conventional thinking, but Mather excited him and presented him with a new outlook that he found enticing. Mather was beautiful, and being bisexual and having been a high-class prostitute, was delightfully worldly. Mather's uninhibited lifestyle became irresistible to Weston and her photography took him into a new and exciting art form. As Mather worked and overtly played with him, she presented a lifestyle that was in stark contrast to Weston’s conventional home life, and he soon came to see his wife Flora as a person with whom he had little in common.Weston expanded his horizons but tried to keep his affairs with other women a secret. As he immersed himself further into nude photography, it became more difficult to hide his new lifestyle from his wife. Flora became suspicious about this secret life, but apparently suffered in silence. One of the first of many women who agreed to model nude for Weston was Tina Modotti. Although Mather remained with Weston, Tina soon became his primary model and remained so for the next several years. There was an instant attraction between Tina Modotti, Mather and Edward Weston, and although he remained married, Tina became his student, model and lover. Richey soon became aware of the affair, but it didn’t seem to bother him, as they all continued to remain good friends. The relationship Tina had with Weston could definitely be considered “cheating,” since knowledge of the affair was withheld as much as possible from his wife Flora May.Perhaps his wife knew and condoned this new promiscuous relationship, since she had also endured the intense liaison with Margrethe Mather. Tina, Mather and Weston continued working together until Tina and Weston suddenly left for Mexico in 1923.As a group, they were all a part of the cozy, artsy, bohemian society of Los Angeles, which was where they were introduced to the then-fashionable, communistic philosophy.
— Captain Hank Bracker, "The Exciting Story of Cuba"
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 used to have a theory about photographing. It was a sense of getting in between two actions, or in between acton and repose.
— Diane Arbus, Diane Arbus: Monograph
I believe all photographers want to be remembered for their images. They reflect a piece of their soul.
— Christopher Paul Flateau
Photography is my other kind of music.
— Romi Florea
Images are mediations between the world and human beings. Human beings 'ex-ist', i.e. the world is not immediately accessible to them and therefore images are needed to make it comprehensible. However, as soon as this happens, images come between the world and human beings. They are supposed to be maps but they turn into screens: Instead of representing the world, they obscure it until human beings' lives finally become a function of the images they create. Human beings cease to decode the images and instead project them, still encoded, into the world 'out there', which meanwhile itself becomes like an image - a context of scenes, of states of things. This reversal of the function of the image can be called 'idolatry'; we can observe the process at work in the present day: The technical images currently all around us are in the process of magically restructuring our 'reality' and turning it into a 'global image scenario'. Essentially this is a question of 'amnesia'. Human beings forget they created the images in order to orientate themselves in the world. Since they are no longer able to decode them, their lives become a function of their own images: Imagination has turned into hallucination.
— Vilém Flusser, Towards a Philosophy of Photography
In the dry places, men begin to dream. Where the rivers run sand, there is something in man that begins to flow. West of the 98TH Meridian - where it sometimes rain and it sometimes doesn’t – towns, like weeds, spring up when it rains, dry up when it stops. But in a dry climate, the husk of the plant remains. The stranger might find, as if preserved in amber, something of the green life that was once lived there, and the ghosts of men who have gone on to a better place. The withered towns are empty, but not uninhabited. Faces sometimes peer out from the broken windows, or whisper from the sagging balconies, as if this place – now that is dead – had come to life. As if empty it is forever occupied. Reproduced in THE BORSCHT BELT from The Works of Love by Wright Morris by permission of the University of Nebraska Press. Copyright 1949, 1951 by Wright Morris.
— Marisa Scheinfeld, The Borscht Belt: Revisiting the Remains of America's Jewish Vacationland
Ultimately, what I am seeking in the photograph taken of me... is Death: Death is the eidos of that Photograph
— Ronald Barthes
What makes Capa a great photo journalist?" asks a reporter covering a 1998 retrospective of his work. "We see his own appetite for life, his mix of urgency with compassion . . . the artistic thrust of his photography always had more to do with its emotional pitch, which remained genuine and deeply felt." Or, in Capa's own words, a great picture "is a cut out of the whole event which will show more of the real truth of the affair to some one who was not there than the whole scene.
— John Steinbeck, A Russian Journal
You keep doing that and your camera is likely to explode.”“Are you crazy?” Alfred smirked. “My camera is like me.” “How so?” “It adores you,” Alfred told him.
— Remmy Duchene, So Into You
Walking the streets with camera in hand is akin to being on a treasure hunt as a child.
— Christopher Paul Flateau
what is ceremonious and curious and commonplace will be legendary.
— Diane Arbus, Diane Arbus: Monograph
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
— How do you make your pictures? — I don’t know, it’s not important.
— Henri Cartier-Bresson
Photography is the art of making memories tangible.
— Destin Sparks
When I make a picture, I make love.
— Alfred Stieglitz
You are responsible for every element within the frame.
— David duChemin, Within the Frame: The Journey of Photographic Vision
Affordable wedding photography packages are available here, there are three packages and 35% midweek discount from Mon-Thu is available here whether it is half day, full day, or hourly basis package.
— ER Photography
As long as we’re alive and interacting with life, the world, and the people around us, we’ll have something to say.
— David duChemin, Within the Frame: The Journey of Photographic Vision
Let us take you into a deeper experience, make a moment a lasting conveyable memory. Let us help build your tribe.
— Deep Immersion
Contact ER photography for Wedding photographer in Manchester. Where are you couples? Come here and make your moments special.
— erphotography
A photograph can communicate a couple things— and sometimes only one thing—very well. The more you try to say with your photograph, the greater the chance that you will say nothing at all.
— David duChemin, Within the Frame: The Journey of Photographic Vision
I've hardly taken any pictures on this trip. Melanie teased me about it, to which I always said I preferred to experience something rather than obsessively record it. Though, really, the truth of it was, unlike Melanie (who wanted to remember the shoe salesman and the mime and the cute waiter and all the other people on the tour), none of that really mattered to me. At the start of the trip, I took shots of the sights. The Colosseum. Belvedere Palace. Mozart Square. But I stopped. They never came out very well, and you could get postcards of these things.But there are no postcards of this. Of life.
— Gayle Forman, Just One Day
At age four I was a camera. I took pictures with my eyes. I framed my photo within my vision and blinked my eyes to snap the shutter of my memory. Since that time, I've been impersonating inanimate objects at every opportunity.
— Sophia Amoruso, #GIRLBOSS
All of those thousands upon thousands of photographs my father had taken. Think of them instead. Each one a record, a testament, a bulwark against forgetting, against nothingness, against death. Look, this happened. A thing happened, and now it will never un happen. Here it is in a photograph: a baby putting its tiny hand in the wrinkled palm of an octogenarian. A fox running across a woodland path and a man raising a gun to shoot it. A plane crash. A comet smeared across a morning sky. A prime minister wiping his brow. The Beatles, sitting at a cafe table on the Champs-Elysees on a cold January day in 1964, John Lennon's pale face under the brim of a fisherman's cap. all these things happened, and my father committed them to a memory that wasn't just his own, but the world's. My father's life wasn't about disappearance. His was a life that worked against it.
— Helen Macdonald, H is for Hawk
The horizon is the fine line between golden hour and blue hour.
— Destin Sparks
If there can be a better way for the real world to include the one of images, it will require an ecology not only of real things but of images as well.
— Susan Sontag, On Photography
If I like a photograph, if it disturbs me, I linger over it. What am I doing, during the whole times I remain with it? I look at it, I scrutinize it, as if I wanted to know more about the thing or the person it represents... I want to outline the loved face by thought, to make it into the unique field of an intense observation; I want to enlarge this face in order to see it better, to understand it better, to know its truth.
— Roland Barthes
There had to be something new, some fresh angle. As the rain pattered down around him, Kapenda thought. What was the weirdest thing he'd seen since this all started? He'd been in the tiny town of Chew Stoke a few weeks earlier, filming the remains of a vehicle that had been washed into a culvert and whose driver had died. In Grovehill, no one had died yet but there were abandoned cars strewn along the streets and surrounding tracks, hulking shapes that the water broke around and flowed over in fractured, churning flurries.That was old. Every television station had those shots.He'd been there the year before when the police had excavated a mud-filled railway tunnel and uncovered the remains of two people who had been crushed in a landslide. What they needed was something like that here, something that showed how weak man's civilized veneer was when set against nature's uncaring ferocity. He needed something that contrasted human frailty and natural strength, something that Dali might have painted - a boat on a roof, or a shark swimming up the main street. He needed that bloody house to collapse.("Into The Water")
— Simon Kurt Unsworth, Best New Horror: Volume 25
It’s not lost on me that I’m so busy recording life, I don’t have time to really live it.
— David Sedaris, Let's Explore Diabetes with Owls
Whosoever possesses a camera should never know boredom.
— Wayne Gerard Trotman
Photographs shape the past in our own image.
— Chloe Thurlow, A Girl's Adventure
Life is likephotography we develop from the  negatives
— unkowen
When we are reading, a voice comes to us as in the dark and whispers, "Imagine!" Samuel Beckettas told by Bill Moyer in the Foreword he wrote for, The Public Library: A Photographic Essay by Robert Dawson. Afterword by Ann Patchett
— Samuel Beckett
And for the world's orphans. A portion of this book's proceeds will go to you.
— Stacy Wasmuth, Mamarazzi: A Mother's Guide to Children's Photography
As Marcel Proust understood, memory is not exclusively or even predominantly visual. It is synesthetic, a combination and even a confusion of the senses that no simple image can reach or encapsulate. A photograph can act as a spur to memory, it can yield treasures, like looking under your bed and finding the baseball card you were certain you lost. But an image stands mute before the inexpressible delicacy, horror, humor, and associative complexity of our experience.
— Will Steacy, Photographs not taken: A collection of photographers' essays
Your most important gear is your eye, heart and soul.
— Marius Vieth
Photography is the story I fail to put into words.
— Destin Sparks
if you have the tools but do not have the visual concept, the tools do not work
— Betty Poluk
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
do not take pictures to please the public, the photo should be spontaneous and free
— Betty Poluk
Any moment which is not captured is loss in the events of time.
— Lailah Gifty Akita
I take same picture twice, First with my heart then camera.
— Biju Karakkonam Nature and Wild life Photographer
Photography captures a moment in time. Art captures time in a moment.
— Joyce Wycoff
remember... the picture should tell a story in itself, and should have a spontaneous approach
— Betty Poluk
Any moment which is not captured is loss in events of time.
— Lailah Gifty Akita
My best photo will be the last one, that I want to be taken.
— Biju Karakkonam, Nature and Wild life Photographer
If you want to learn what someone fears losing, watch what they photograph.
— Anonymous
She believed photography to be the greatest of all art forms because it was simultaneously junk food and gourmet cuisine, because you could snap dozens of pictures in a couple of hours, then spend dozens of hours perfecting just a couple of them.
— Tommy Wallach, We All Looked Up
Nature is a picture waiting to be taken.
— Katja Michael
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
The captain was amusing. He said that he himself couldn't draw and proved his words by drawing his own house for his prisoner to see. It was just such a house as the babies drew in the kindergarten: a square box with four square windows, a door and two chimneys, each with a neat curl of smoke. "That's best I can do," said the Captain, laughing.Max laughed with him for politeness' sake, though inwardly he was shocked that an important man like the Captain made a fool of himself. "Vater does not draw," he said kindly, "nor does Mutti; but they are both very keen on photography. Perhaps you are good at that?""Not brilliant," said the Captain.
— Constance Savery, Enemy Brothers
Adequate photographers use their sight, good photographers use their senses, and great photographers use their souls.
— A.J. Compton, The Counting-Downers
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.
— Terry Pratchett
I love women more on canvas than real life, for they seldom change on canvas!
— Ramana Pemmaraju
To take a picture is to have an interest in things as they are, in the status quo remaining unchanged, to be in complicity with whatever makes a subject interesting, worth photographing-including, when that is the interest, another person's pain or misfortune.
— Susan Sontag
Starting a new chapter is much like composing the perfect photograph. You must ensure the proper components are there. You may throw out the extra, but with out the key elements the story goes untold.
— Faith Tilley Johnson
There is the satisfaction of being able to look at the image without flinching. There is the pleasure of flinching.
— Sontag, Susan
When you take pictures of nature with passion, nature poses for you more passionately!
— Mehmet Murat ildan
A good selfie is when you successfully capture the feeling of that very moment!
— Anamika Mishra
Recently, photography has become almost as widely practiced an amusement as sex and dancing – which means that, like every mass art form, photography is not practiced by most people as art. It is mainly a social rite, a defense against anxiety, and a tool of power.
— Susan Sontag
A perfectly clear photograph is a distortion of reality.
— David B. Lentz, The Fine Art of Grace: A Novel
Photography is not a lens but eye, not a business but art
— Farid F. Ibrahim
It is not enough for the Jew to rest content with his own spiritual ascent, the elevation of his soul in closeness to G-d, he must strive to draw spirituality down into the world and into every part of it – the world of his work and his social life – until not only do they not distract him from his pursuit of G-d, but they become a full part of it.
— (R. Menachem M. Schneerson)
A camera is just like a woman, as long as you have one of them hanging around your neck....life is just fine
— sunny-drunk
Beauty can be seen in all things, seeing and composing the beauty is what separates the snapshot from the photograph.
— Matt Hardy