Quotes of All Topics . Occasions . Authors
Watching my daughter sort of live in this world where a photograph is not something to keep a memory. It's something to just speak with. It's language.
I went to Yosemite as an homage to Ansel Adams. I could never be Ansel Adams, but to know that's there for us - there's so much for us in this country.
By sight and observation and thought, with the help of the camera, and the addition of the date of the year, we can hold fast the history of the world.
One thing that struck me early is that you don’t put into a photograph what’s going to come out. Or, vice versa, what comes out is not what you put in.
There is so much work to working that there are moments, moments, where I stop and look around, and it seems too arduous to go on. It isn't, of course.
I trust my instincts. I don't distrust them. They haven't led me astray. It's when I've made up my mind to be efficient that is when I have gone wrong.
Digital photography and Photoshop have made it very easy for people to take pictures. It's a medium that allows a lot of mediocre stuff to get through.
You only get one sunrise and one sunset a day, and you only get so many days on the planet. A good photographer does the math and doesn't waste either.
I'm a New Yorker. Matter of fact, the more I'm in places like Texas and California, the more I know I'm a New Yorker. I have no confusions. About that.
In a way my work is documentary. But I am also a photographer who has a distinct style. My photographs are a companion to the reality of the situation.
I do believe strongly in photography and hope by following it intuitively that when the photographs are looked at they will touch the spirit in people.
They often ask me to shoot for them. But I say no. I think an old guy like me ought not take pages away from young photographers who need the exposure.
To talk about photos rather than making them seems idiotic to me. It's as though I went on and on about a woman I adored instead of making love to her.
Only sometimes I try to think about it in context. When I think about the context of, "Oh, I'm this or that," in this society, that's one of the terms.
But when I was a kid, I would look at the paper next to the phone and I would think to myself, "I want to do that." So I started doing that. [doodling]
Every child is going to grow up. You can see it happen in the books: They get older and older and belong to themselves to a greater and greater extent.
A really important point for me is that I don't use any brand or corporate sponsors. So I have no responsibility to anyone but myself and the subjects.
Speed, the fundamental condition of the activities of our day is the power of photography, indeed the modern art of today, the art of the split second.
If you want to photograph a man spinning, give some thought to why he spins. Understanding for a photographer is as important as the equipment he uses.
The element of discovery is very important. I don't repeat myself well. I want and need that stimulus of walking forward from one new world to another.
My dad would often take me to the cinema and I found myself really seduced by the imagery, I think this had a massive impact on how I viewed the world.
I thought I was taking pictures of things that I hated. But there was something about these pictures. They were unexpectedly, disconcertingly glorious.
I think there is something very consoling in feeling lost in space but also feeling grounded, and seeing that all of this is part of a bigger clockwork
Technically perfect, pictorially rotten. (Stieglitz's standard comment on photographs he rejected for publication in The American Amateur Photographer.)
I grew up in front of the camera from an early age. It distorts your perception of who you are. Having a lot of attention at a young age is not healthy.
Being present with a person and just seeing them for who they are is something that is so rarely given to us, and I try to do that with everyone I meet.
The difference between a theatre with and without an audience is enormous. There is a palpable, critical energy created by the presence of the audience.
As much as I'm not a journalist, I use journalism. And when you photograph a relationship, it's quite wonderful to let something unfold in front of you.
There are many teachers who could ruin you. Before you know it you could be a pale copy of this teacher or that teacher. You have to evolve on your own.
It's a very immersive and intense form of travel to walk around with an interpreter and stop random people on the street and ask them about their lives.
I don't want the viewer to be able to peel away the layers of my painting like the layers of an onion and find that all the blues are on the same level.
Nudists are fond of saying that when you come right down to it everyone is alike, and, again, that when you come right down to it everyone is different.
Sometimes I feel like . . . the world is a place I bought a ticket to. It’s a big show for me, as if it wouldn’t happen if I wasn’t there with a camera.
It's that I don't like white paper backgrounds. A woman does not live in front of white paper. She lives on the street, in a motor car, in a hotel room.
Even someone as photographed and aware of the camera as members of the royal family needs to feel completely comfortable if they are to look their best.
Photographers who come up with power never get accused of imitating anyone else even though they photograph the same broom, same street, same portraits.
As a non-Catholic, and since I was a child, I have been obsessed with the ritual and the beauty of Catholic art. I look at Renaissance art all the time.
If you let other people's vision get between the world and your own, you will achieve that extremely common and worthless thing, a pictorial photograph.
When I start thinking about a story, I don't start by thinking about the fashion, but about who I want to photograph and what the story should be about.
I consider myself fortunate that photography exists, because otherwise I'd be stuck in the tragedy of ephemeralness that can come with installation art.
When I was young I would ask everybody what life was about. Now it's clear to me that the image of each existence shows its own answer to that question.
Unfortunately they're practically all dead. And many were my closest associates: friends, co-directors, whatever you want to say - my partners in crime.
If you can imagine photography in the guise of a woman and you’d ask her what she thought of Stieglitz, she’d say: He always treated me like a gentleman.
The pictures of my family were designed to be on a family wall, they were supposed to be together. It was supposed to copy my mother's wall in her house.
One of the great things about being an older person is that I am very aware of the scope of the work and the historical sense of it. It's bigger than me.
It is my intention to present - through the medium of photography - intuitive observations of the natural world which may have meaning to the spectators.
Body language is so important, as is composition. You can not say something, and then the body reacts, and it says a lot of things dialogue can also say.
I have never met a man who I could still say, 'That is the love of my life.' Stuart is. I never met anybody as full of love and giving as this young man.
Science teaches you to open your eyes and appreciate the reality around you. Religion teaches you to close your eyes and cling to the fantasy within you.
Do we choose to see possibilities? Do we really believe that they're there? Perception controls our reality, and if we don't believe it, we won't see it.