photography influence Quotes

I believe every photographer is influenced by their sexual preference in a greater or lesser way, and it certainly has affected me.

The photographer must bear the responsibility for his work and its effect …[for] photographic journalism, because of its tremendous audience reached by publications using it, has more influence on public thinking than any other branch of photography.

I find it satisfying that what I've done in photography has had so much influence in how people take photographs and what they look at and how they look at things.

So successful has been the camera's role in beautifying the world that photographs, rather than the world, have become the standard of the beautiful.

There's a kind of power thing about the camera. I mean everyone knows you've got some edge. You're carrying some magic which does something to them. It fixes them in a way.

A few of the influences on my career so far have been Isamu Noguchi, Irving Penn, and seeing the riots of 1968 in Paris.

The painting of tomorrow will use the photographic eye as it has used the human eye.

Painting from life is a completely different monster, which I like. But because I've been painting from photography for so long, I've learned my best moves from photography.

It was the era of photography. This may have influenced us, and played a part in our reaction against anything resembling a snapshot of life. (On the year 1905)

From the moment that photography appeared, the descriptive genre began to invade Letters... In verse as in prose the décor and exterior aspects of life took an almost excessive place.

Pictures you have taken have an influence on those that you are going to make. That's life!

I think it's very important what young people see in pictures or on TV or in magazines. Drugs, violence, anorexia. All of the things that I absolutely do not reference in my photos.

Photographers are always imposing

I was a student, and as such you generally rely on prior models of how to make art, but these were not satisfying. Then I discovered in photos what had been missing in paintings; namely that they make a terrific variety of statements and have great substance. That is what I wanted to convey to paintings and apply to it.

American 'Vogue' and the Versace campaign by Richard Avedon were huge for me. It put me on the map.

I would say I'm self-taught, but Corinne Day made me less conscious of myself. I was 15, and she'd make me take off my top, and I'd cry. After five years, you get used to it, and you're not self-conscious anymore.

I think photography has made us see the landscape in a very dull way - that's one of its effects. It's not spatial.

When you put an individual on the cover of a big picture magazine, like 'Life of Look', their career skyrocketed. As a photographer, you were very empowered; people came to you, bowing to you and what you represented.

I really learned a lot from collecting clothes because I got to go back into the history of fashion and fashion photography and jewelry. It changed how I felt about fashion and about what I did forever because I used to look a little bit down on myself for it.

All my film ideas and subjects have come from photography.

Our very sense of situation is now articulated by the camera's interventions. The omnipresence of cameras persuasively suggests that time consists of interesting events, events worth photographing. This, in turn, makes it easy to feel that any event, once underway, and whatever its moral character, should be allowed to complete itself - so that something else can be brought into the world, the photograph.