image authenticity Quotes

While photographs may not lie, liars may photograph.

Unlike any other visual image, a photograph is not a rendering, an imitation or an interpretation of its subject, but actually a trace of it. No painting or drawing, however naturalist, belongs to its subject in the way that a photograph does.

[Photography is] in some ways false just because it is so exact.

Some people... cling to the idea that the photograph is an inherently real or honest image and as such is always on a different plane from an obviously subjective form of visual communication such as painting.

When painting portraits a lot of people say, 'Why not get a photograph of the person?' Photography is wonderful and it is an art form in itself, but... my portrait is a culmination of elements... a truer image of a person than just the 'click' of a snapshot.

The practice of photography is no longer a means for recording reality. Instead, it has become reality itself

Rag & bone images always reflect the authenticity of the brand. Their images have character and tell a story.

I haven't talked to any young artists for a long time. But if we did sit down, I'd definitely tell them my viewpoint. If it was Lady Gaga, I'd say: 'You're talented, and you've obviously got the goods... what the hell are you doing with your image? How can anyone take you serious?'

What if I said that every photograph I made was set up? From the photograph, you can't prove otherwise. You don't know anything from the photograph about how it was made, really.

Now that photography is a digital medium, the ghost of painting is coming to haunt it: photography no longer retains a sense of truth. I think that's great, because it frees photography from factuality, the same way photography freed painting from factuality in the mid-nineteenth century.

People often trust low-res images because they look more real. But of course they are not more real, just easier to fake. [...] You never see a 10-megapixel photograph of Big Foot or the Abominable Snowman or the Loch Ness Monster.

The image cannot be dispossessed of a primordial freshness, which idea can never claim. An idea is derivative and tamed. The imageis in the natural or wild state, and it has to be discovered there, not put there, obeying its own law and none of ours. We think we can lay hold of image and take it captive, but the docile captive is not the real image but only the idea, which is the image with its character beaten out of it.

I don't care how you photograph - use the kitchen mop if you must, but if the product is not true to the laws of photography... you have produced something that is dead. (1923)

People will get tired of overly retouched images soon and they'll want something different. If people have too much reality, they want fantasy. What matters most is what the image communicates. I remember the first roll of film I shot at high school, the contact sheet went from these really worthy images of cracks in the wall and ended up with all of my dancer friends naked in Renaissance poses.

People are much more willing nowadays to believe that pictures lie than [that] they can express any kind of truth.

A documentary photograph is not a factual photograph.

Actually, the camera was never overhead at any time. It was always a side view of me. Subsequently, after the picture was released, I saw some scenes from above and my clothes being pulled-and I think that was added later.

Today a lot of things are so celebrity-oriented; it's only because it's celebrity and the photograph is lost. To me it's important to have an image that is a photograph first, not about necessarily who that person is.

I think of scientific veracity as an idea from the past - the scientists say it is so, the photo is proof. Even the authoritative power of the word actual - an actual what? An actual retouched photo, an actual collaged photo?

This is a photograph, so it is as you see: there are no lies and no deceptions. One can detect here, elevated to an incomparably higher level, the same pathetic emotional appeal that lies concealed in every fake spiritualist photograph, every pornographic photograph; one comes to suspect that the strange, disturbing emotional appeal of the photographic art consists solely in that same repeated refrain: this is a true ghost... this is a photograph, so it is as you see: there are no lies, no deceptions.

Images are no longer what they used to be. They can't be trusted any more. We all know that. You know that. When we grew up, images were telling stories and showing them. Now they're all into selling. They've changed under our very eyes. They don't even know how to do it anymore. They've plain forgotten. Images are selling out the world. And at a big discount.

Finnish forests: Let us remind the satellite pictures of the 1970's winter in which the old forest appeared black and young forest and cut downs white. Already then the Finnish borders were like drawn on the map: White Finland between black Karelian and black Sweden. Finnish Forest Research Institute hicced up some time and then decided that the pictures are fake.

Photographs trade simultaneously on the prestige of art and the magic of the real.

Photographers must learn not to be ashamed to have their photographs look like photographs.

Photography has always been capable of manipulation.