William Klein Quotes

Black-and-white photography, which I was doing in the very early days, was essentially called art photography and usually consisted of landscapes by people like Ansel Adams and Edward Weston. But photographs by people like Adams didn't interest me.

Maybe black and white is the best medium for landscapes, I don't know.

I was looking at this picture of Brooke Shields at Studio 54 the other day. Everyone in the shot looks amazing because they have these black and white cameras with a flash. I think that's what photographers should go back to.

Laurie Simmons began showing her photographs in New York in the late '70s: black-and-white and then candy-colored scenarios with plastic dolls in 1950s-style domestic interiors.

I thought New York had it coming, that it needed a kick in the balls. When I returned to New York, I wanted to get even. Now I had a weapon, photography.

A lot of my friends were mostly working in black-and-white-people like Lee Friedlander, Diane Arbus, Garry Winogrand, and others. We would exchange prints with each other, and they were always very supportive of what I was doing. What each of us was doing photographically was entirely different, but we were basically coming from the same place, sort of like a club.

The New York Times, they lie. They lie like I've never seen anything.

My way of photographing is my way of life. I photograph from my experience, my way of seeing things.

No color will ever be brighter for me than black and white.

Mysteries lie all around us, even in the most familiar things, waiting only to be perceived.

My enthusiasm for joining the New York Film Academy is predicated on my personal explorations into video as well as a sense of responsibility to share my extended experience of photography with committed students in both mediums.

If you take a good look at the book [ Stock Photographs], it's largely a portrait gallery of faces - faces that I found dramatic. And some of those turned out to be reasonably dramatic photographs. But that's all it is, I think.

There is no special way a photograph should look.

Nina knew the power of black and white images. Sometimes a thing was its truest self when the colors were stripped away.

Cities give us collision. 'Tis said, London and New York take the nonsense out of a man.

Some negroes lie, some are immoral, some negro men are not be trusted around women - black and white. But this is a truth that applies to the human race and to no particular race of men.

A photograph can look any way.

Photography is very subjective. Photography is not a document on which a report can be made. It is a subjective document. Photography is a false witness, a lie.

...through this photographic eye you will be able to look out on a new light-world, a world for the most part uncharted and unexplored, a world that lies waiting to be discovered and revealed.

In 1982 I bought the newly released Makina Plaubel 55mm fixed-lens camera. With this shift from 35mm to 6 x 7, I also changed from black and white to color. Later that year, I started my project on New Brighton called The Last Resort. However, the first project I shot in colour was composed of urban scenes from Liverpool. This image was on the second roll of film. It's the first good photo I made in this new chapter of my work.

I don't create blurs. Blurring is not the most important thing; nor is it an identity tag for my pictures.

I love New York. New York made me the man that I am, and I always rep it to the fullest, but right now it's completely different from what it was and anybody that says it's for the better is straight up lyin'. Straight up lyin'!

The pictures do not lie, but neither do they tell the whole story. They are merely a record of time passing, the outward evidence.

When you think of fashion photography, it's a dream. It's like we all want to be those women. We want to wear those dresses.

Black and white photography is truly quite a 'departure from reality', and the transition from one aspect of visual magic to another was not as complete as many imagine.