Quotes of All Topics . Occasions . Authors
To me, Los Angeles was the invention of the suburb. They figured it out and perfected it and created a city that was dependent on the automobile.
I enjoyed it [commercial work] until I stopped. You could travel and get around. I can't really explain why, I just didn't want to do it anymore.
It's about finding meaning through light. I'm always interested in tensions. A primary one is the collision between the familiar and the strange.
I have gradually confused photography and life and as a result of this I believe I am able to work out of myself at an almost precognitive level.
Plastic surgery is distressingly popular and I feel that the fashion industry has killed tens of thousands of women over the years from anorexia.
[I influenced by ]the work of early [Michelangelo] Antonioni, Orson Welles and [Carlo] Pasolini, I love [Nicolas Jack] Roeg's film "Performance".
I only tie up woman's body because I know I cannot tie up her heart. Only her physical parts can be tied up. Tying up a woman becomes an embrace.
The key is to not let the camera, which depicts nature in so much detail, reveal just what the eye picks up, but what the heart picks up as well.
Although humans see reality in colour, for me, black and white has always been connected to the image's deeper truth, to its most hidden meaning.
For example, in my dorm, at the University of Kentucky, I had the only camera. I don't think anyone came to college with a camera, other than me.
I do remember, the first time we met [with Patti Smith], the door opening with a squeak. And then there was this very beautiful girl looking out.
The purpose of all art is to cause a deep and emotion, also one that is entertaining or pleasing. Out of the depth and entertainment comes value.
In fashion, you have assistants, flashes; you can make sets. There are people running around doing things for you. But I can take it or leave it.
Why should not the camera artist break away from the worn out conventions and claim the freedom of expression which any art must have to be alive.
Realism and superrealism are what I'm after. This world is full of things the eye doesn't see. The camera can see more, and often 10 times better.
A snowball is simple, direct and familiar to most of us. I use this simplicity as a container for feelings and ideas that function on many levels.
I've created a vocabulary of different styles. I draw from many different ways to take a picture. Sometimes I go back to reportage, to journalism.
The more you do, the more you realize there is to do, what a vast object the metropolis is, and how the work of photographing could go on forever.
We try to invest in companies that are putting together environmental programs and working to improve their overall social and environmental self.
I'm very interested in how we read things, especially the link between seeing two-dimensional and three-dimensional images, because of how I read.
When I do work, I get so much done in such a concentrated time that once I’m through a series, I’m so drained I don’t want to get near the camera.
One thing that Life and I agreed right from the start was that one war photographer was enough for my family; I was to be a photographer of peace.
Black people have been killed for directing their gaze at the wrong person. I want my subjects to reclaim their right to look, to see, to be seen.
As I celebrated what was right with the world, I began to build a vision of possibility, not scarcity. Possibility... always another right answer.
I mean, it's very subtle and a little embarrassing to me, but I really believe there are things which nobody would see unless I photographed them.
Bring the viewer to your side, include him in your thought. He is not a bystander. You have the power to increase his perceptions and conceptions.
...the pepper is beginning to show signs of strain, and tonight should grace a salad. It has been suggested that I am a cannibal to eat my models.
The most interesting parts of the natural world are the edges, places where ocean meets land, meadow meets forest, timberline touches the heights.
There are photographers whose shows I try to make it my business to see, if I'm in the city. There are photographers I have no interest in at all.
The man at Kodak told me the shots were very good and if I kept it up, they would give me an exhibition. Later, Kodak gave me my first exhibition.
My mind is vacant on names, but I know him as well as anything. When I need names they drop out of my head; when I don't need them they drop back.
I think that's what the war photography did for me. It showed me the human side of people and how certain circumstances can change people's lives.
The whole world is there for you. Gifts will happen, but only if you are patient with life itself, the shooting process, and your own limitations.
For those aspiring to make a living from travel photography, it's a sad fact that the boring shots are the shots that are going to make you money.
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.
Our experience with knowledge, the way we know things, is not that neat. It doesn't fit into a grand narrative, the way we've been taught to read.
I am obsessed with beauty. I want everything to be perfect, and of course it isn’t. And that’s a tough place to be because you’re never satisfied.
I am obsessed with beauty. I want everything to be perfect, and of course it isn't. And that's a tough place to be because you're never satisfied.
Often I have struggled for days to get the image of the photograph to overlap the spirit I see. It is an awesome responsibility, and a lonely one.
My connection to Santa Fe is very closely, and continuously a connection with Reid. I believe in him and his philosophy of photographic education.
Whether he is an artist or not, the photographer is a joyous sensualist, for the simple reason that the eye traffics in feelings, not in thoughts.
My personal interest in ordinary people is unlimited, but I am fascinated by the challenge of portraying true greatness adequately with my camera.
If I'm looking at life without a spiritual perspective, it's a lot more painful, a lot more confusing, and there's so much that I don't understand.
I just walk around, observing the subject from various angles until the picture elements arrange themselves into a composition that pleases my eye.
The things that I make are that which a person will make. They're not meant to mimic nature. They are nothing but the result of a hand of a person.
Some of the snowballs have a kind of animal energy. Not just because of the materials inside them, but in the way that they appear caged, captured.
The surrealism of my pictures was nothing but the real made eerie by vision. I was trying to express reality, for there is nothing more surrealist.
Sometimes in news photography and so on, the pictures are a little bit dry, and put on the page and just set in a journalistic way in front of you.
The way we see things is constantly changing. At the moment the way we see things has been left a lot to the camera. That shouldn't necessarily be.
No country has ever closely scrutinized itself visually ... I know what we could make of it if people only thought we could dare look at ourselves.