Color Photography Quotes

There's one Baldessari work I genuinely love and would like to own, maybe because of my Midwestern roots and love of driving alone. 'The backs of all the trucks passed while driving from Los Angeles to Santa Barbara, California, Sunday, 20 January 1963' consists of a grid of 32 small color photographs depicting just what the title says.

Beware of color theories. Theories in color photography are dangerous. The plain fact that there are so many of them proves my point.

3D is very exciting. I love it. I'm a complete convert. Everything for me, from now on, is 3D. I'm completely convinced it's the future of home entertainment, as well as cinema entertainment. I think it's a paradigm shift, in terms of cinema, and those things don't happen very often. The introduction of sound, the introduction of color photography and now 3D have been the big shifts. They happen once every 40 or 50 years, so it's very exciting to be a filmmaker, working while one of them is happening.

Photography could have been invented in color. Colors existed.

'Sugarcoat the Galaxy' is inspired by color-inflected photographs of galaxies. It likens sounds to spun sugar and confection, wrapping static harmonies inside energy and pace.

I met and became close with John Szarkowski of the Museum of Modern Art. He was incredibly supportive about me working in color.

I started as a black and white photographer, but the colors I was seeing were just so lurid and compelling and awful at the same time. They got me looking at other contemporary art. I was gravitating more and more toward work that had visceral power, that wasn't necessarily about being beautiful but had some kind of horror in the palette.

...everything looks worse in black and white.

Black and white might be sufficient. But why deprive yourself of color.

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.

The majority of America's colossal fortunes have been made by entering industries in their early stages and developing leadership in them.... Think of what opportunities the present and the future contain in such fields as ship-building and ship-owning, aircraft, electrical development, the oil industry, different branches of the automotive industry, foreign trade, international banking, invention, the chemical industry, moving pictures, color photography, and, one night add, labor leadership.

I support any procedure that allows photographers to express themselves, whether that involves color, black and white, platinum, palladium and digital technology.

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

Color tends to corrupt photography and absolute color corrupts it absolutely. Consider the way color film usually renders blue sky, green foliage, lipstick red, and the kiddies' playsuit. These are four simple words which must be whispered: color photography is vulgar.

My black-and-white work is more of a celebration, and the color work became more of a critique of society.

My mother had found this album of all these old slides from the '50s of me as a kid and I said, 'We should have these made into pictures because the color's so beautiful.' There were pictures of me from 1955 as a little baby wearing all these elaborate outfits, and in these pictures was this amazing story of a gay man and his mother.

...one sees differently with color photography than black-and-white... in short, visualization must be modified by the specific nature of the equipment and materials being used.

In the '70s, in Britain, if you were going to do serious photography, you were obliged to work in black-and-white. Color was the palette of commercial photography and snapshot photography.

When I photographed Marilyn Monroe, I mixed up my cameras - one had black-and-white film, the other color. I took many pictures. Only two color ones came out all right. My favorite picture of Marilyn hangs always on the wall in my office. It was taken on the little patio of her Hollywood house.

Black and white means photography to me. It's much easier to take a good color photograph, but you can get more drama into a black and white one.

I used to hate doing color. I hated transparency film. The way I did color was by not wanting to know what kind of film was in my camera.

Most makeup campaigns are not in black and white.

Mama, don't take my Kodachrome away.

In the history of photography, we have many masterpieces in terms of black and white books. You have Bresson's 'Decisive Moment,' Frank's 'The Americans'... many masterpieces. But there is nothing to this caliber in color. Well, I think I'll waltz with my muse and hope that I might be able to produce something on this order in color.

Yes, sir, a patrol car came and took me down to a station where they were trying to develop films, but they hadn't got the facilities to develop colored film.