Leonard Nimoy Quotes

A photograph must come from imagination and not be a reflection of what is.

I think a lot of the time these days people are so concerned about having the right camera and the right film and the right lenses and all the special effects that go along with it, even the computer, that they're missing the key element.

There are a thousand ways to point a camera, but really only one.

I didn't really know how to make a film when I made 'Control'. I had to create my own language, just as I did when I started taking photographs. I never studied either one.

I think each shoot has a different personality.

Life rarely presents fully finished photographs. An image evolves, often from a single strand of visual interest - a distant horizon, a moment of light, a held expression.

I'm not the kind of artist who has an idea and then carries it out; it's more like I find what the idea was through doing the paintings.

I've been taking photographs since I was a teenager, and fashion has taught me a lot more about photography. It's definitely inspired me.

The camera is not the instrument. People are always the instrument.

Painting, music, photography, and visual art have been creative forms of expression for me for decades.

You know, they always say that the photographer is a hunter of images. That is a flattering image, the idea of a hunter, it's virile, acquired power. Actually though, it isn't that. We are really fishermen with hooks and lines.

A photograph is not an accident - it is a concept.

It's seldom you make a great picture. you have to milk the cow quite a lot to get plenty of milk to make a little cheese.

Photography and photographers have an inevitable development. They progress more or less by steps. Every five or ten years some new point of view is developed and young people are inclined to follow it.

Photography is not cute cats, nor nudes, motherhood or arrangements of manufactured products. Under no circumstances it is anything ever anywhere near a beach.

I have found in my still-life work that I seem to be able to tell what objects are important to me by what tends to stay in the painting as it develops.

We're making so many images today and it's unbelievable. I shoot stuff all the time. I try to figure a lot out before I paint. I do a tremendous amount of shooting.

If I have an idea I want to put in a movie, I know what camera will make that look best, and I have ideas for future projects and stuff I'd like to build for those. I think it's just part of how I work, though.

I wish I had met [Francesca] Woodman forty years ago. It would have been great to live with her for a year. She didn't save anything. She played the camera like a new guitar. She murdered herself out taking pictures.

I have no interest in being famous. I just want to make famous photographs.

Which of my photographs is my favorite? The one I'm going to take tomorrow.

It took me twenty years to discover painting: twenty years looking at nature, and above all, going to the Louvre.

I embrace the abstract in photography and exist on a few bits of order extracted from the chaos of reality.

Photography's like this baby that needs to be fed all the time. It's always hungry.