Fine Art Photography Quotes

The fact that few painter-fine-artists used photography in their work made it appealing.

Wolfgang Tillman's stunning large-scale pictures, being shown for the first time, were so offhand I failed to see them as art.

A good print is really essential. I want to take strong documentary photographs that are as good technically as any of the best technical photographs, and as creative as any of the best fine-art photographs. [...] I don't want to just be a photo essayist; I'm more interested in single images...ones that I feel are good enough to stand on their own.

Exposure to the reproductions [of Corbis-owned fine art photographs] is likely to increase rather than diminish reverence for the real art and encourage more people to get out to museums and galleries.

Some people's photography is an art. Not mine. Art is a dirty word in photography. All this fine art crap is killing it already.

I can look at a fine art photograph and sometimes I can hear music.

I am a great admirer of Robert Vavra and love his beautiful photographs and books. He is a wonderful artist, a poet.

I like Ryan McGinley's work.

Ansel Adams rattled around the Southwest with his battered truck and his view camera, which looked like a giant accordion with a lens attached to it.

It's really, really hard to make it as a fine-art photographer exclusively.

I don't like gimmicky pictures; I've always hated them. I like pictures that are very clear and clean, whether you're a great street photographer - somebody like Friedlander or Winogrand or Cartier-Bresson - or whether you're a portraitist, like Irving Penn.

Above all, the photographs I use are not arty in any sense of the word. I think photography is dead as fine art; its only place is in the commercial world, for technical or information purposes.

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.

The photograph may be presented as finely and artistically as you will; but to merit serious consideration, must be directly connected with the world we live in.

I started as a black-and-white teenage photographer, and I'm still there decades after. In some ways, the genre is almost gone. I am thinking of true, stubborn, lifetime black-and-white photographers, as opposed to black-and-white as a photographic commodity.

When I started, art photography, like that of Andreas Gursky, and Thomas Struth, didn't exist.