Quotes of All Topics . Occasions . Authors
He sleeps fastest who sleeps alone.
One man's fantasy is another man's job.
Faces are the ledgers of our experience.
Just advertising departments with legs and high heels.
Anything is an art if you do it at the level of an art.
I am always stimulated by people. Almost never by ideas.
All photographs are accurate. None of them is the truth.
Sometimes I think all my pictures are just pictures of me.
If I could do what I want with my eyes alone, I would be happy.
i think charm is the ability to be truly interested in other people
To be an artist, you have to nurture the things that most people discard.
A portrait isn't a fact but an opinion - an occasion rather than a truth.
There is no truth in photography. There is no truth about anyone's person.
My portraits are more about me than they are about the people I photograph.
I never wanted to be called an artist. I wanted to be called a photographer.
Start with a style and you are in chains, start with an idea and you are free.
I know that the accident of my being a photographer has made my life possible.
It's not hard being great occasionally. It's difficult to be good consistently.
There's always been a separation between fashion and what I call my deeper work.
I always prefer to work in the studio. It isolates people from their environment
I believe that you've got to love your work so much that it is all you want to do.
A photographic portrait is a picture of someone who knows he is being photographed
I think all art is about control, the encounter between control and uncontrollable.
I think all art is about control - the encounter between control and the uncontrollable.
The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion.
I hate cameras. They interfere, they're always in the way. I wish: if I could work with my eyes alone.
People, unprotected by their roles, become isolated in beauty and intellect and illness and confusion.
Any artist picks and chooses what they want to paint or write about or say. Photographers are the same.
The pictures have a reality for me that the people don't. It is through the photographs that I know them.
My parents put the New Yorker in my crib. I saw Vogue and Vanity Fair around the house before I could read.
People — running from unhappiness, hiding in power — are locked within their reputations, ambitions, beliefs.
People - running from unhappiness, hiding in power - are locked within their reputations, ambitions, beliefs.
I see pictures of myself and I always knew that what I was feeling didn't look like that guy in the pictures.
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?
Real people move, they bear with them the element of time. It is this fourth dimension of people that I try to capture in a photograph.
Fashion is where I make my living. I'm not knocking it; it's a pleasure to make a living that way. Then there's the deeper pleasure of doing my portraits.
Sometimes I think all my pictures are just pictures of me. My concern is...the human predicament; only what I consider the human predicament may simply be my own.
My photographs don't go below the surface. They don't go below anything. They're readings of the surface. I have great faith in surfaces. A good one is full of clues.
I've photographed just about everyone in the world. But what I hope to do is photograph people of accomplishment, not celebrity, and help define the difference once again.
It's in trying to direct the traffic between Artiface [sic] and Candor, without being run over, that I'm confronted with the questions about photography that matter most to me.
I can see myself as a very old man in a terrific wheelchair. Only, I won't be photographing the tree outside my window, the way Steichen did. I'll be photographing other old people.
The way someone who's being photographed presents himself to the camera, and the effect of the photographer's response on that presence, is what the making of a portrait is all about.
When you pose for a photograph, it's behind a smile that isn't yours. You are angry and hungry and alive. What I value in you is that intensity. I want to make portraits as intense as people.
A photographic portrait is a picture of someone who knows he is being photographed, and what he does with this knowledge is as much a part of the photograph as what he's wearing or how he looks.
We all perform. It's what we do for each other all the time, deliberately or unintionally. It's a way of telling about ourselves in the hope of being recognized as what we'd like to be.--PERFORMANCE
Marilyn Monroe gave more to the still camera than any actress, any woman I've ever photographed; infinitely more patient, more demanding of herself and more comfortable in front of the camera than away from it.
Photography has always reminded me of the second child.. trying to prove itself. The fact that it wasn't really considered an art.. that it was considered a craft.. has trapped almost every serious photographer.
A portrait photographer depends upon another person to complete his picture. The subject imagined, which in a sense is me, must be discovered in someone else willing to take part in a fiction he cannot possibly know about.
What ends up in your scrapbook? The pictures where you look like a good guy and a good family man, and the children look adorable - and they're screaming the next minute. I've never seen a family album of screaming people.
A portrait is not a likeness. The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion. There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is the truth.