Analog Photography Quotes

I'm staying with film, and with silver prints, and no Photoshop. That's the way I learned photography: You make your picture in the camera. Now, so much is made in the computer... I'm not anti-digital; I just think, for me, film works better.

I think - I don't know, maybe it's nostalgia. But the choice, losing the choice to be able to use film is going to be - it's gone. It's going to be gone.

I come from an era when we had to figure out how to bolt a camera to a motorcycle or an airplane or dig a hole and find a canyon deep enough to repel into it so that we can capture images that were real.

When I was working, there was no digital. We actually worked; we used Polaroids.

I'd like to own a movie camera - a proper one, with film, not a digital thing. Celluloid has more character.

Artists are losing the choice to use film. People have a love for it - the grain, how it feels, the texture.

I just love the look of film. But I have nothing against HD.

I don't think that digital photography is romantic yet. It's not sympathetic the way that film is.

The [35mm] camera is for life and for people, the swift and intense moments of life.

I'm not against digital photography. It's great for newspapers. And there are photographers doing great work digitally. When they use Photoshop as a darkroom tool, that's fine, too. But at this point of my life, after so many years, I don't really want to change, and I still love film.

When I had my first camera - I was a child of the '80s. I remember what it was like reusing the same tapes over and over again, and having really bad quality and images kind of bubbling up from under the surface.

There's a reason why I use film. It's because it's the best representation of how our eyes work. I really believe that. I think it's better than digital.

In terms of digital photography, I continue to print and use film for the most part. I still shoot with film, 21/4 film specifically, and I love it. I love it because I know what it does, how it really responds to light.

My protest against digital has been me saying, "What's going to happen to film?" The result is that Kodak is out of business. That's a national tragedy. We've got to keep making film.

I think your behavior is different when you work on digital or film. It seems that... I feel most focused if I'm working on film.

Nobody should touch a Polaroid [camera] until he's over sixty

35mm film isn't ticking away so it's subconscious - performances are allowed to breathe in a much more real way I think.

There's something very satisfying about old cameras because they're ingenious. I mean when you take them apart and actually see, 'Oh, this is how we make photographs,' it's an ingenious thing, but it feels like it's in a way a layman can appreciate, whereas a digital camera, I don't even begin to know what goes into making a digital camera.

Something happens between a novel and its reader which is similar to the process of developing photographs, the way they did it before the digital age. The photograph, as it was printed in the darkroom, became visible bit by bit. As you read your way through a novel, the same chemical process takes place.

I am one of the last photographers to convert to digital.

I am a camera, with its shutter open. Someday, all of this will be developed, printed, fixed.

You know when I shoot with digital capture, I look for the mistake. When I shoot with film I embrace it.

I've always loved [Elsa Dorfman] work. I've loved her and her work is so much an expression of her. One of the reasons to make the film is to expose Elsa, hopefully, to a wider audience.

Computer photography won't be photography as we know it. I think photography will always be chemical.

I loved the way the burned-out flashcubes of the Kodak Instamatic marked a moment that had passed, one that would now be gone forever except for a picture.