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“Computer-held data can also be used to create images that simulate photographs without a camera. While it is true that these electronic images trade on the authority that photographs have, and are usually based on other photographs, they are nonetheless a deception, If it is its ‘believability’ that gives the photograph its status in socicty (‘I was there and this is what I saw’), are computer-generated images no more than sophisticated fakes? ” ― Paul Hill, (‘Chapter Nine: Radical Changes and the Imaging Future’, Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p163)

— Approaching Photography by Paul Hill (Page 163)

"“But it should be remembered that the ‘free press’ also gives journalists and proprietors the freedom to distort and corrupt in order to garner power, money and influence.” ― Paul Hill, (‘Chapter Nine: Radical Changes and the Imaging Future’, Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p160)"

— Approaching Photography by Paul Hill (Page 160)

"In this world of visual hyperbole, situations are not what they seem to be. Ordinary objects can become anthropomorphized, and the human body can turn into a landscape.” ― Paul Hill, (‘Chapter Eight: From Printed Page to Gallery Wall’, Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p140)

— Approaching Photography by Paul Hill (Page 140)

"The extraordinary, or “unreal”, is there amid the ordinary and prosaic, if we have the perception to see it.” ― Paul Hill, (‘Chapter Eight: From Printed Page to Gallery Wall’, Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p134)

— Approaching Photography by Paul Hill (Page 134)

"Some hint of your personality always emerges from your photographs, even if they were just meant to be records. Other people can often perceive the ‘real’ you coming out in your pictures; the trick is to try to divine the personally significant images for yourself. If you succeed in finding this out, you are better equipped when it comes to making the sort of photographs that are most relevant — and revelatory — to others.” ― Paul Hill, (‘Chapter Seven: In Search of Self and the Metaphor’, Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p115)

— Approaching Photography by Paul Hill (Page 115)

"“There could be as much grandeur in a photograph of forms made by the light and shade on the back wall of your house as there is in the picture of a distant mountain range.” ― Paul Hill, (‘Chapter Six: Experiencing Beauty’, Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p111)"

— Approaching Photography by Paul Hill (Page 111)

"What moves us to call something like a sunset ‘beautiful’? Objects do not have ‘beauty’ in the sense of possessing a thing called beauty. We impose the word beauty on things, and what makes it confusing is that there is no clear consensus on what ‘beauty’ actually is. Maybe we feel a sense of harmony, a soothing sensation or a gut feeling when we contemplate what are for us ‘beautiful’ things. Beauty is a thing you have to feel inwardly — never assume that what you think of as beautiful is going to be appreciated as beautiful by anybody else. And never let people brainwash you into accepting their definition of beauty as the only valid one.” ― Paul Hill, (‘Chapter Six: Experiencing Beauty’, Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p106)

— Approaching Photography by Paul Hill (Page 106)

"Seeing comes before words. It is seeing that establishes our place in the surrounding world.” ― John Berger, (quoted in Paul Hill, ‘Chapter Six: Experiencing Beauty’, Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p101)

— Approaching Photography by Paul Hill (Page 101)

"The human mind may be able to make sense of the many facets of great events and understand their implications, but all the photographer can do is attempt to capture for the reader the telling fragments from what is happening in front of the camera.” ― Paul Hill, (‘Chapter Five: The Photographer as Witness’, Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p97)

— Approaching Photography by Paul Hill (Page 97)

"Portraits without people : It may sound like a contradiction in terms, but it may not always be necessary for people actually to appear in portraits. A detailed photograph of the interior of a room may portray the personality of the occupants more accurately than any picture of their head and shoulders. After all, we usually gather around us the things we like or are interested in. A photograph of these items could be more ‘you’ than a photograph of your face. ” ― Paul Hill, (‘Chapter Five: The Photographer as Witness’, Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p79)

— Approaching Photography by Paul Hill (Page 79)

“Alfred Stieglitz, the famous American photographer and gallery director, once said that a true portrait should be a series of photographs of a person taken at regular intervals ‘between the cradle and the grave’.” ― Alfred Steiglitz, (quoted in Paul Hill, ‘Chapter Five: The Photographer as Witness’, Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p75)

— Approaching Photography by Paul Hill (Page 75)

"The snapshot never comes out as you think it will; it is either better or worse. As you become more knowledgeable, and photographically sophisticated, there is less uncertainty and, as a result, some of the magic goes. It is impossible to recapture those naive days, and naivety is one of the major ingredients of snapshots. They are pieces of unpretentious folk art that the professional cannot make. There is great pleasure and fulfilment to be found in making unaffected souvenirs.” ― Paul Hill, (‘Chapter Five: The Photographer as Witness’, Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p73)

— Approaching Photography by Paul Hill (Page 73)

"“Communicating with the public is always a problem, though. As the great expressionist painter Oscar Kokoschka rather cynically put it: ‘I, and my public understand each other very well: they don't hear what I say, and I don’t say what they’d like to hear.’ ” ― Oscar Kokoschka, (quoted in Paul Hill,‘'Chapter Four: How Photography is Used’, Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p67)"

— Approaching Photography by Paul Hill (Page 67)

"“Communicating with the public is always a problem, though. As the great expressionist painter Oscar Kokoschka rather cynically put it: ‘I, and my public understand each other very well: they don't hear what I say, and I don’t say what they’d like to hear.’ ” ― Oscar Kokoschka, (quoted in Paul Hill,‘'Chapter Four: How Photography is Used’, Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p67)"

— Approaching Photography by Paul Hill (Page 67)

“There is no such thing as Art — there are only artists.” ― Ernst Gombrich (Prof), (quoted in Paul Hill, ‘Chapter Three: Art and Communication’, Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p45)

— Approaching Photography by Paul Hill (Page 45)