Quotes of All Topics . Occasions . Authors
I couldn't deal with a normal life.
I have a vivid, apocalyptic imagination.
I guess I have a certain willingness for audacity.
Very few males have the confidence to appear vulnerable.
I chose photography over writing. I had to make a living.
Death makes us sad, but it can also make us feel more alive.
I’m past photographing to see what things look like photographed.
Unless you photograph what you love, you're not going to make good art.
The fundamental thing about my personality is that I think I'm an imposter.
The things that are close to you are the things you can photograph the best.
Photographs open doors into the past, but they also alloq a look into the future
Photographs supplant and corrupt the past, all the while creating their own memories.
The whole nature of photography has changed with the advent of a camera in everybody's hand.
If I take enough pictures, I'm going to get a good one, and I know not to stop at a bad one.
I just started taking pictures, and it was - it was an instant love affair. It was just ecstatic.
You can tell a good ruined lens, right from the get-go.... That’s the kind of lens I'm looking for.
I think the media is a fear-mongering operation. They love to rile their viewership up or to scare them.
It is easier for me to take ten good pictures in an airplane bathroom than in the gardens at Versailles.
Like all photographers, I depend on serendipity I pray for what might be referred to as the angel of chance.
All the good pictures that came so easily now make the next set of pictures virtually impossible in your mind.
Time, memory, loss and love are my main artistic concerns, but time, among all of them, becomes the determinant.
Matte digital prints are gorgeous, don't you agree? But the glossy digital prints, I just can't stand that paper.
When the good pictures come, we hope they tell truths, but truths 'told slant,' just as Emily Dickinson commanded.
I couldn't be Susan Sontag. I'm not very good with abstract thought. I always just take to the emotional core of me.
My main interest was finding boyfriends. I'd park myself in the bookstore and read with one eye on everyone coming in.
When I read something, I picture that scene in that detail. That becomes very similar to composing a photo in real life.
When you look at your life as an artist, you do see that when you get to be 60, you're coming - this is the last chapter.
I like to make people a little uncomfortable. It encourages them to examine who they are and why they think the way they do.
I'd park myself in the bookstore and read with one eye on everyone coming in. I remember reading a Robert Bly book of poetry.
I had written my master's thesis on Ezra Pound on 'The Cantos.' And don't ask me about it. I don't remember anything about it.
It's always been my philosophy to try to make art out of the everyday and ordinary...it never occurred to me to leave home to make art.
As an artist your trajectory just has to keep going up. the thing that subverts your next body of work is the work you've taken before.
There are a number of things that set Southern artists apart from anyone else. Their obsession with place and their obsession with family.
I have had a fascination with death, I think, that might be considered genetic for a long time. My father had the same affliction, I guess.
I'm not a good photographer, not a good writer. I'm a pretty regular person whose insecurity is so pervasive that it makes me always feel vulnerable.
These dog bones are just making art the way art should be made, without any overarching reference. Just for fun, if you can imagine that-art for fun.
I'm just the opposite of a lot of photographers who want everything to be really, really sharp. And they're always, you know, stopping it down to F64.
I feel I'm a strange mixture of insecurity and strength. Most of us, probably most people. I'm transferring that same concept to the people I photograph.
I’m so worried that I’m going to perfect [my] technique someday. I have to say its unfortunate how many of my pictures do depend upon some technical error.
You start blocking out things, and that's a really important part of taking a picture is the ability to isolate what you're - what you're concentrating on.
Though I made my share of mistakes, as all parents do, I was devoted to my kids. I walked them to school every morning and walked back to pick them up at 3.
I taught up in Maine a couple of times and wasn't able to take a single picture. All that blue sky! Ugh. Sparkling clear air, just terrible. I couldn't do it.
Maintaining the dignity of my subjects has grown to be, over the years, an imperative in my work, both in the taking of the pictures and in their presentation.
It's not a lack of confidence, because I can't argue with the fact that I've taken some good pictures. But it's just a raw fear that you've taken the last one.
Don't get between me and a really good picture in the darkroom, because then I want to go straight to the darkroom and develop it. But once that's done, I'm fine.
I remember when the family album came out, people would just knock on our door because they thought they knew us, and that, of course, is one of the great hazards.
What is truth in photography? It can be told in a hundred different ways. Every thirtieth of a second when the shutter snaps, its capturing a different piece of information.
I try and take the commonplace - and some of it is writ large, like death - take the commonplace and make it universally resonant, revelatory, and beautiful at the same time.
I don't know what the instinct is, to save every report card, every half-sentence scribbled note, but my mother did it pretty effectively, and I've done it to a fare-thee-well.
It's usually so fraught when you're taking a picture. I work with an 8-by-10 view camera and there's a, you know, hood that I put over my head, and it's tricky and complicated.