黛安認為照相是很奇妙的經驗，因為照相得冒‘用別人觀看我們的方式來觀看自己’的風險。她已經跟相機泡太久了，所以她很清楚人民希望別人幫他他們拍攝的形象是它們自己也能接受的。 控訴虛偽的影像敘事者：黛安‧阿巴斯 P
光線到處都是，管線存在於所有的色彩裡：光線具有十分重要的心理意義。 控訴虛偽的影像敘事者：黛安‧阿巴斯 P 172
藝術家碰會碰到的最危險的事情就是初出茅廬九倍當成大師，我因為做了某件我甚至不知道自己在幹嘛的事情而受到眾人膜拜。 控訴虛偽的影像敘事者：黛安‧阿巴斯 P 168
‘他的名言是“如果你看見已經見過的東西，就不要按快門。”這句話黛安永誌不忘。’ 控訴虛偽的影像敘事者：黛安‧阿巴斯 P 163
看著那門口拘禁著無數生命，在黑暗中發出青白冷光的強化鋁籠子漸漸逝去，不知為何事喔聯想起了深夜的偷渡客。金屬的反光像兇器一樣，深深烙印在我的眼底。 東京漂流 P 44
為了不讓自己貶值6，所以不想要長久留在室內空間：也因為如此，我不執著於物質。只要對物質有了執著，在家中開始堆積財物，水流就會被擋住而無法痛毆。也因為如此，我家不論經歷幾年，都還保持著當初仲介帶我來時的空曠。這麼冷清的房間，住起來當然不舒服。因為住起來不舒服，更成為不想在此長住的理由。 東京漂流 P 39
妻子对我说：“三毛没有葬礼，三毛只有生日。” 我们这一代 P450
黛安從布雷克身上學到神話不是發明出來的，而是激發出來的：神話都來自同一個源泉，這個源泉位於意識底下，也就是夢。夢是個人的，布雷克說道，神話是群體的夢，跟人生的奧秘有關。你無法具體詮釋影像——如果這麼做，就會喪失這些影像的意義。幾乎每一個社會都有講述英雄與追尋的神話。 控訴虛偽的影像敘事者：黛安‧阿巴斯 P 46
攝影就是攝影，只是被人任性地加上藝術、或半藝術等詞彙，我的某個朋友說得很貼切，‘人在吃飯前喝吃飯後成為藝術家，但在吃飯之中就不是藝術家’，吃飯，也就是工作之時、藝術家拼命創作之時，但藝術家卻是在創作之後或之前的稱謂，這真是相當巧妙的諷刺。
決鬥寫真論 P 325
我認為無法只用單純的技巧或新的風格來歸類篠山紀信的泛焦表現，他因為泛焦而使一切都置於同一平面，致使每個讀者都必須重新學習觀看，也就是根據觀看而企圖回頭閱讀世界。把世界當做一個資料般投出，那是將相機之眼與肉體之眼的差異徹底意識化的方法。對篠山紀信而言，攝影的美麗，以及至今攝影美學被思考過的種種標準，應該都在他的思考之外吧。他蹂躪著慣用的美學見解。 決鬥寫真論 P 299
但是最後它們被公開了。我認為從拉提格攝影中欠缺密碼、以及因此創造出的攝影樸實的趣味中，看見了攝影的原形。也就是說，攝影完全發揮了它本身的力量，超過作為‘作者’的攝影家的意識與意圖，反過來說，那些選擇符合意識、意圖而拍攝出來的攝影，恐怕將失去攝影做為攝影的衝擊力。
決鬥寫真論 P 226
寫實主義一開始便把‘這是——’的斷定、斷言給排除。寫實主義是一種方法性的意識，從一開始就企圖相反地崩壞預設的暗號解讀表格。寫實主義時此時此處因為我和世界的相遇，而將遮蔽我和世界之間、在我和世界的預定調和狀態的意識下的解讀格子崩壞，將世界和我直接面對面的方法做為一種意識、一種意志，這種意識和意志才應該被稱為寫實主義。 決鬥寫真論 P 225
但對我而言，這兩類攝影是相同的，彷彿一枚硬幣的正反兩面。因為它們都是以具體世界中，堅定不移的各種主觀做為前提。另一方面，無論是戰爭的殘酷也好，社會的貧窮也好，都充滿社會或政治的既有概念與想像，‘美麗’的自然、‘純樸’的民眾也屬於這類預設的既定概念，它們被當做解讀這個世界暗號的表格，世界和我分別被放置在由表格正中對稱的對角線位置，成為一種相互安定的關係，締下不可相互侵犯的條約。如此一來，每當解讀安好的表格被設定時，世界與現實就被井然地改變，成為容易理解、容易消化的東西。然後觀看世界與現實的人也共有這些表格，攝影家——讀者（觀看攝影者）的幸福小圈圈就此成立。 決鬥寫真論 P 224
其次，整體而言，這個時代的攝影表現，喪失輸球能力，急速地墮落至預定的技術、流派之中，這又是另一個不可否認的事實。其中只有少數幾個人曾創造‘突出的’攝影，卻也因此誕生不斷延續相同風格的模仿潮流，且每一個六趴都不再指示單純仰賴相機這個機械而已。決鬥寫真論 P 213
從很久以前，我就感覺到，我的生後是被那些既不閱讀，也沒打開的書籍裡緊緊塞滿的，沒有生命的文字所包圍，那幾乎是等同恐懼的感覺。我好多次有過這種奇妙的感覺。當我沉睡時，那些死去的文字們突然在半夜各自跳起舞來，各自發表論述，不斷地大聲喧嘩——那些離開文章的零碎文字，為了自我主張而狂舞。詞語爆炸。但是當我試圖用眼睛偷窺時，此鬱悶立刻恢復成原來安靜的文字，再次回到闔上的書本，沈沈睡去。
決鬥寫真論 P 123
攝影原本就是切取現實的一個斷面，所以攝影是原本現實被切斷的瞬間世界姿態的凝態，這幾乎是不需要解釋的真理，但這些照片卻讓我重新思考：攝影所擁有的只有攝影才能擁有的魔術，是只能被稱為幻象的光景，是所有的想像、所有的妄想強制拖引出來的觸媒。攝影——時時間的陷沒。
決鬥寫真論 P 122
馬德里人喜歡電影。他們魚貫排隊只為一睹弗瑞∙亞斯坦和秦姐∙羅傑斯的風采，儘管之後回家路上她們必須趴倒在地鐵的地板上，以免子彈貫穿車廂窗戶的玻璃。
等待卡帕 P 150
I'm interested in getting something unpredictable, something you don't normally see. Even so, when the picture starts to happen, it's often a surprise. Annie Leibovitz at Work P 216
I think the only form of seduction I'm capable of is the assurance that I'm a good photographer and that we're going to do something interesting. I've never asked anyone to do something that didn't seem right for them. And I don't ask them to do something for no reason. There's always thought behind my pictures. I throw out several ideas and see what the subject wants to do. Annie Leibovitz at Work P 216
I never set anyone at ease. I always thought it was their problem. Either they were at ease or they weren't. That was part of what was interesting about a picture. Setting people at ease is not part of what I do. The question assumes that one is looking for a 'nice' picture, but a good portrait photographer is looking for something else. It might be very direct. I'm there simply to take the picture and that's it. Annie Leibovitz at Work P 215
As I became more experienced, I began to understand that someone who is being photographed can work for only so long and that you shouldn't belabor the situation. Something is either going to happen or it's not going to happen. It's not going to suddenly turn into something else. Or very rarely. what does happen a lot is that as soon as you say it's over, the subject will feel relieved and suddenly look great. And then you keep shooting. Annie Leibovitz at Work P 214
Whatever camera helps me do that is the camera I'm going to use. I'm not nostalgic about cameras. When I talk about how important the camera is to me. I mean the idea of the camera. What photographer does. I'm not into it because of the equipment, and I'm not concerned with the things that concern more technically acute people, I want use whatever helps me take a picture in all kinds of light with faster speed and fewer problems. I changed my 35mm camera four times a year. As soon as I hear there's a better one out, I try it. Annie Leibovitz at Work P 207
I believe that you are better to capture what you really see in color with digital. There's a distinctive intensity in a digital file. Digital gives a more honest view of how things actually look, and with the advent of all these possibilities, I still want the pictures to look like they're real. Annie Leibovitz at Work P 207
They were canned smiles. Forced. In the fifties, everything was supposed to be OK, although half the time it wasn't OK. It took me years to understand that I equated asking someone to smile with asking them to do something false. Annie Leibovitz at Work P 168
There are not many smiling people in my pictures. I've never asked anyone to smile. Almost never. Maybe a few times I felt I had to, when people looked really depressed, but I apologized for asking. You can almost hear the sigh of relief when you tell someone they don't have to smile. Annie Leibovitz at Work P 168
I have often said that I don't have a favorite picture, although as time passes, that portrait of my mother means more and more to me. It's probably my favorite picture. It's honest. My mother is looking at me as if the camera were not there. Annie Leibovitz at Work P 166
One of the clichés about portrait photography, particularly Hollywood portrait photography, is that the camera loves certain people's faces. I resisted that idea for a long time. I was skeptical about a subject holding a picture on his own and I would always go into a shoot with some kind of plan to help things along. Over the years, however, I've come to understand, almost reluctantly, that the cliché is true. Some people are photogenic. You see it when you are setting up a portrait with a stand-in. You're having a miserable time and nothing looks right and then the subject walks in and everything is transformed. Annie Leibovitz at Work P 152
What I hadn't taken into account was how small everyone would be when the picture was printed in the magazine. If you blew it up, it was beautiful, but in the magazine everyone looked tiny. The paramount picture is special. It documented an extraordinary group of people. I have learned how to organize and direct large groups, but I would always rather photograph an individual. No group is going to have the power of an individual portrait. Annie Leibovitz at Work P 151
I learnt a lot about perspective from taking those group shots, and I started to believe that if I panned the camera to the left and to the right on my regular portraits I could get a picture that was truer to the way the eye sees. It made sense to take two frames for a magazine: the left-hand page and the right-hand page. Two frames from the Mamiya RZ67 made something similar to the dimensions of a 35mm rectangle, the frame size I have always preferred. Annie Leibovitz at Work P 147
A photograph is just a tiny slice of a subject. A piece of them in a moment. It seems presumptuous to think you can get more than that. Annie Leibovitz at Work P 125
One of the things this job did for me was reinforce my belief in photography. You may think that you can't compete with the barrage of images of television, but individual pictures have their own impact. You can study them. they remain. Annie Leibovitz at Work P 117
(Demi Moore's portrait) It was a popular picture, and it broke ground. If it were a great portrait, she wouldn't be covering her breasts. She wouldn't necessarily be looking at the camera. There are different criteria for magazine covers. They're simple. The addition of type doesn't destroy them. Sometimes they even need type. My best photographs are inside the magazine. Annie Leibovitz at Work P 93
All dancers are, by and large, a photographer's dream. They communicate with their bodies and they are trained to be completely responsive to a collaborative situation. Annie Leibovitz at Work P 87
The basic ideas for the portraits of Tess Gallagher and Robert Penn Warren came from reading their poems, from doing my homework. If I were preparing to photograph a dancer, I would watch him dance. I would listen to the musician's record. Somewhere in the raw material was the nucleus of what the picture would become. It didn't have to be a big idea. It could be simple. There's case to be made that the simpler the idea the better. Annie Leibovitz at Work P 55
Everyone pretty much moved away after Nixon was inside the helicopter and the door was closed. The guards began rolling up the carpet. It wasn't the kind of picture that most magazines would want to run or had room to run then, but a lot can be told in those moments in between the main moments. Annie Leibovitz at Work P 28
During the early years at the magazine, I usually carried three cameras on assignments. I didn't want to lose time changing lenses. I would take a 35mm lens, a 55, and a 105. A 35mm lens provide a perspective close to what the human eye sees, and it was my lens of choice. The 55 was considered a 'normal' lens, very classic, simple and noninterfering, The 105 was on a body with a meter and I could use it for light readings. Zoom lenses were not really an option then. They weren't made very well. When you saw a photographer with a zoom lens on his camera you didn't take him seriously. Annie Leibovitz at Work P 16
We were told the best important thing a young photographer can do is learn how to see. It wasn't about the equipment we were using. I don't remember being taught any techniques. A camera was only a box that recorded an image. We learnt to compose, to frame, to fill the negative, to fit everything we saw into the camera's rectangle. We were never to crop out pictures. We went out every morning and took pictures and developed them in the darkroom the same day. Since the prints were washed in communal trays and everybody's pictures were lying there with everybody else's, you tried hard to come back with something good. In the evening, we would sit around and discuss our work. We were a community of artists. Annie Leibovitz at Work P 13
而真正的解释是“让欲望于其中迷醉的瓶子”，藏语里乳房的称谓。藏族以乳房圆浑微垂、乳头上翘为美，恰像一个灌满了美酒的陶瓶。在拉卜楞桥头观望，常见丰腴的藏族少女和妇人，她们的酒瓶，为多少长辫垂肩的东藏男子所欲醉。 廖偉棠散文選 P 134
我看见这个美丽的词是在《藏汉大辞典》上，邻近的一页上还有一个美丽的词条：“四欲”——“互拥欲、执手欲、含笑欲、凝视欲”，欲望都如此痴情无邪，破戒也是可以为我佛原谅的吧？ 廖偉棠散文選 P 134