Bob Dylan (Robert Zimmerman)
[Singer, songwriter, and artist, b. 1941, Hibbing, Minnesota, lives in Malibu, California.]

 It rubs me the wrong way, a camera... It’s a frightening thing. Cameras make ghosts out of people. 

Richard Avedon
[Photographer, b. 1923, New York, d. 2004, San Antonio, Texas.]

 If each photograph steals a bit of the soul, isn’t it possible that I give up pieces of mine every time I take a picture? 

John Pfahl
[Photographer, b. 1939, New York, lives in Buffalo, New York.]

 People think the camera steals their soul. Places, I am convinced, are affected in the opposite direction. The more they are photographed (or drawn and painted) the more soul they seem to accumulate. 

Crazy Horse (Tasunka Witko)
[Leader of the Oglala Sioux, b. 1849, Lakota lands, d. 1877, Fort Robinson, Nebraska.]

 My friend, why should you wish to shorten my life by taking from me my shadow? (To photographer Dr. Valentine T. McGillycuddy.) 

William J. T. Mitchell
[Writer, theorist, and architect, b. 1944, Melbourne, Australia, lives in Cambridge, Massachusetts.]

 ...people have always known, at least since Moses denounced the Golden Calf, that images were dangerous, that they can captivate the onlooker and steal the soul. 

Mary Ellen Mark
[Photographer, b. 1940, Elkins Park, Pennsylvania, d. 2015, New York.]

 I just think it’s important to be direct and honest with people about why you’re photographing them and what you’re doing. After all, you are taking some of their soul, and I think you have to be clear about that. 

Francis Bruguière
[Artist and photographer, b. 1879, San Francisco, d. 1945, London.]

 What lives in pictures is very difficult to define... it finally becomes a thing beyond the thing portrayed... some sort of section of the soul of the artist that gets detached and comes out to one from the picture. 

Nadar (Gaspard-Félix Tournachon)
[Photographer, b. 1820, Paris, d. 1910, Paris.]

 According to Balzac’s theory, all physical bodies are made up entirely of layers of ghostlike images, an infinite number of leaflike skins laid on top of one another. Since Balzac believed man was incapable of making something material from an apparition—that is, creating something from nothing—he concluded that every time someone had his photograph taken, one of the spectral layers was removed from the body and transferred to the photograph. Repeated exposures entailed the unavoidable loss of subsequent ghostly layers, that is, the very essence of life. 
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