Quotes of All Topics . Occasions . Authors
I think we're in a post-pornographic time and nothing seems shocking, but everything remains carnal no matter what you do.
......so called “composition” becomes a personal thing, to be developed along with technique, as a personal way of seeing.
Look at lots of exhibitions and books, and don't get hung up on cameras and technical things. Photography is about images.
I look at a photograph. What's going on? What's happening, photographically? If it's interesting, I try to understand why.
I was able to work with two heads. If anything, doing ads and other commercial work were at least exercises in discipline.
It is really important to have an obsessive need to construct something, to understand something from your own experience.
I think nearly every artist continually wants to reach the edge of nothingness - the point where you can’t go any further.
I never had a “project.” I would go out and shoot, follow my eyes... I tried to capture with my camera, for others to see.
Many people [still] believe that at the time of your death, 1,000 Buddhas show up and welcome you into the paradise state.
I think just about everything has been tackled, but it may be that things will be done again, only better and differently.
Every single immigrant is part of a larger history that needs to be communicated in all its ambivalences and complexities.
I started photographing men in 1964. Fourteen years later I got a Guggenheim, even so no one would publish the male nudes.
Poetry is my first love. Photography often fails to look into things. It looks at things. Poetry is so much more truthful.
With a camera like that you don't believe you're in the masterpiece business. It's enough to be able to peck at the world.
We've fallen into a fin-de-siecle period of crisis in which people believe only the things they see right in front of them
A lot of fashion photographers will do the same sort of image for many years; it's easier to be successful if you do that.
I love curating, because I'm lucky and privileged that I have a platform and I can share my discoveries with other people.
Usually my ideas for work have revolved around my interest in people, especially people that live on the edges of society.
I'm firmly convinced that true beauty only springs from the acceptance of oneself, from an awareness of who we really are.
What counts is putting the intensity that you yourself have experienced into the picture. Otherwise it is just a document.
I knew my ticket out of the suburbs was art school, so I worked really hard to develop my portfolio and get a scholarship.
Photography, alone of the arts, seems perfected to serve the desire humans have for a moment - this very moment - to stay.
... nature photographs downright bore me for some reason or other. I think: 'Oh, yes. Look at that sand dune. What of it?'
Of all the forms of water the tiny six-pointed crystals of ice called snow are incomparably the most beautiful and varied.
I always take hundreds and hundreds of pictures. I used to work for 'National Geographic,' and they gave us a lot of film.
I shoot a little bit, maybe two rolls, medium format, which is 20 pictures, and if it's not working, I change the position.
Emphasis on technique is justified only so far as it will simplify and clarify the statement of the photographer's concept.
There's something about the processional nature of the architecture, of the rooms connecting rooms. It's just breathtaking.
I am a huge fan of biographies. What I'm always looking for is a story. I want a story I have never heard from anyone else.
Only powerfully conceived images have the ability to penetrate the memory, to stay there, in short to become unforgettable.
A landscape image cuts across all political and national boundaries, it transcends the constraints of language and culture.
Sculpture occupies real space like we do... you walk around it and relate to it almost as another person or another object.
I am going for a level of perfection that is only mine... Most of the pleasure is in getting the last little piece perfect.
When you're very young, you suddenly find this marvellous freedom. It's quite exciting, and you're prepared to do anything.
I've never wanted to be part of an inner circle of any scene. I've always been an outsider looking to question and subvert.
As you get older, you think about things differently from when you do in your twenties, when you think you'll live forever.
I always wanted my photographs to challenge the status quo, to contest the kinds of images that existed in popular culture.
There's a quality of legend about freaks. Like a person in a fairy tale who stops you and demands that you answer a riddle.
I realize more and more what it takes to be a really good photographer. You go in over your head, not just up to your neck.
Humans can really reveal themselves through what they choose to see as the most important or meaningful detail in an image.
My true program is summed up in one word: life. I expect to photograph anything suggested by that word which appeals to me.
There is nothing as mysterious as a fact clearly described. I photograph to see what something will look like photographed.
Many times I wondered whether my achievement was worth the loneliness I experienced, but now I realize the price was small.
Photography is, for me, a spontaneous impulse coming from an ever attentive eye which captures the moment and its eternity.
What we see changes what we know. What we know changes what we see. Perception, belief, action, and change are codependent.
Whatever else a photograph may be about, it is inevitably about photography, the container and vehicle of all its meanings.
[My subjects] look lost because that is how I see life. I think we are all a bit lost, lost in a world we can't understand.
I have been photographing people dancing for 20 or 30 years now, and I think I will eventually do a book of dancing photos.
Watching the way the current moves a blade of grass - sometimes I've seen that happen and it has just turned me inside out.
Quit trying to find beautiful objects to photograph. Find the ordinary objects so you can transform it by photographing it.