Quotes of All Topics . Occasions . Authors
Reality is always extraordinary.
I was fascinated by my own prom pictures.
Finding the right subject is the hardest part.
Im just interested in what makes a photograph.
I'm just interested in what makes a photograph.
I always wanted to photograph the universal subjects.
In a portrait, you always leave part of yourself behind.
It’s not when you press the shutter, but why you press the shutter.
Photograph the world as it is. Nothing's more interesting than reality.
I have an incredible relationship with dogs. I'm kind of a dog-whisperer.
I'm most interested in finding the strangeness and irony in reality. That's my forte.
Nowadays shots are created in post-production, on computers. It's not really photography.
One of my all-time favorite photographers is Irving Penn. I wish I could have watched him work.
A lot of people who don't have anything collect dogs; it's kind of a symbol of having something.
A great photograph needs no explanation; it functions by suggestion. There is no need to be explicit.
I'm a documentary photographer. That's what I've always wanted to be; that's where my heart and soul is.
The subject gives you the best idea of how to make a photograph. So I just wait for something to happen.
I love to photograph people in their own environment. It offers clues to what's important in their lives.
Looking at my own prom photograph reminds me of how significant that moment was - and how fleeting life is.
The obsessions we have are pretty much the same our whole lives. Mine are people, the human condition, life.
I wanted to travel from the beginning. As a kid, I used to dream about airplanes, before I ever flew in one.
Usually my ideas for work have revolved around my interest in people, especially people that live on the edges of society.
I'm a street photographer, but I'm interested in any ironic, whimsical images, and there's something very romantic about a circus.
I think the prom is very serious also. It's an American ritual, it's a rite of passage, and it's very much a part of this country.
I love dogs. I absolutely adore them. When I'm teaching in Mexico, I rescue dogs from the streets and make my students adopt them.
I want my photographs not only to be real but to portray the essence of my subjects also. In order to do that, you have to be patient.
Every photograph is the photographer's opinion about something. It's how they feel about something: what they think is horrible, tragic, funny.
If you are interested in photography because you love it and are obsessed with it, you must be self-motivated, a perfectionist, and relentless.
What you look for in a picture is a metaphor, something that means something more, that makes you think about things you've seen or thought about.
I respect newspapers but the reality is that magazine "photojournalism" is finished. They want illustrations, Photoshopped pictures of movie stars.
I respect newspapers, but the reality is that magazine 'photojournalism' is finished. They want illustrations, Photoshopped pictures of movie stars.
In 1965, I was in Trabzon in eastern Turkey on a Fulbright scholarship. I would get up every morning and walk around the streets and look for photographs.
During prom season, I travel around the country with a 20-by-24 camera - which is logistically complicated - and photograph proms. My husband made a film of it.
I don't like to photograph children as children. I like to see them as adults, as who they really are. I'm always looking for the side of who they might become.
Everyone asks me how I get my subjects to open up to me. There’s no formula to it. It’s just a matter of who you are and how you talk to people - of being yourself.
I go into every story thinking I'm going to fail. I think about that all the time - I think it's going to be terrible. Every story is like the first I've ever done.
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.
If I hadn't become a photographer, I would have loved to become a doctor. I would have loved to have done something that actually helped people and changed their lives.
Sometimes I work on film sets. I've done this for 40 years. I always wanted to photograph on the set of an Ingmar Bergman film. Unfortunately, I never had the opportunity.
When I started out, it was considered very wrong to change an image. There were scandals if someone inserted a sky into a war picture or something. Now it's all about that.
I'm interested in reality, and I'm interested in survival. I'm interested in people who aren't the lucky ones, who maybe have a tougher time surviving, and telling their story.
I work in colour sometimes, but I guess the images I most connect to, historically speaking, are in black and white. I see more in black and white - I like the abstraction of it.
That's the way I learned photography: You make your picture in the camera. Now, so much is made in the computer. ... I'm not anti-digital, I just think, for me, film works better.
I’m just interested in people on the edges. I feel an affinity for people who haven’t had the best breaks in society. What I want to do more than anything is acknowledge their existence.
I really knew when I started photographing I wanted it to be a way of knowing different cultures, not just in other countries but in this country, too, and I knew I wanted to be a voyeur.
What I'm trying to do is make photographs that are universally understood... that cross cultural lines. I want my photographs to be about the basic emotions and feelings that we all experience.
I saw that my camera gave me a sense of connection with others that I never had before. It allowed me to enter lives, satisfying a curiosity that was always there but that was never explored before.
I would die if I had to be confined. I don't want to feel that I'm missing out on experiencing as much as I can. For me, experiencing is knowing people all over the world and being able to photograph.
In every successful still photographic project that I have completed, there has always been a turning point in the story where I felt that perhaps I was working on something that could be very special.
I think photography is closest to writing, not painting. It's closest to writing because you are using this machine to convey an idea. The image shouldn't need a caption; it should already convey an idea.