Quotes of All Topics . Occasions . Authors
Actually, I think what is being shown as beauty in fashion magazines right now has become particularly ugly. This kind of straight, blonde very conservative.
I don't want to be an artist that gets stuck doing one thing. I don't want to be an artist who people look back at and say, 'His early work was really great.
People say to me, "Who's your favorite kind of photographer?" Or "Who would be your favorite photographer to have in a workshop?" And I always say, "My Dad."
I have been photographing the portrait of an end of an era, as machines and computers replace human workers. What we have in these pictures is an archeology.
Perfume is a form of writing, an ink, a choice made in the first person, the dot on the i, a weapon, a courteous gesture, part of the instant, a consequence.
I had an experience that was kind of backward. Instead of thinking that photography was a step down, it brought me a step up, to transpose and modify things.
Light to me is perhaps the most profound truth in the universe. My thinking has been deeply affected by the belief everything is some form of radiant energy.
I'm used to being behind a camera. That's much more natural for me. But if my life can inspire people, that's what I have to do. My idea is to be of service.
Any claims on the truth in my pictures are only to be answered in the sense that a particular event did in fact happen and did take place in the here and now.
I've done 80 books and if anyone has entertained the idea of owning one of my books, I think this is the book that covers all the bases. I'm very proud of it.
The challenge for me has first been to see things as they are, whether a portrait, a city street, or a bouncing ball. In a word, I have tried to be objective.
There are so many people that use 'following your dreams' as an excuse to not work. When in reality, following your dreams, successfully, is nothing but work.
What I'm trying to describe is that it's impossible to get out of your skin into somebody else's.... That somebody else's tragedy is not the same as your own.
Let's say that what's out there is a narrative. Often enough, the picture plays with the question of what actually is happening. Almost the way puns function.
Photographers deal in things which are continually vanishing and when they have vanished there is no contrivance on earth which can make them come back again.
First, perseverance trumps talent. Second, do what you want to do, otherwise why bother? Third, be ethical; it might rub off on others. Fourth, don't give up.
They were ... pure and unadulterated photographs, and sometimes they hinted at the existence of visual truths that had escaped all other systems of detection.
Photographs also show the way that the camera sees. It's not just me or you or anybody else. The camera does something that is different from our own setting.
I like to keep in touch with younger photographers. It's important that a younger generation comes up and questions the assumptions made by old farts like me.
We see in colour all the time. Everything around us is in colour. Black and white is therefore immediately an interpretation of the world, rather than a copy.
It's funny because unlike back in the seventies when I made hardly any money, today I could just live off the past if I wanted to. I have no interest in that.
I don't want to be an artist that gets stuck doing one thing. I don't want to be an artist who people look back at and say, 'His early work was really great.'
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.
Many people one meets in life somehow think they know you simply because they're hanging out at the same counter-but they really don't know a thing about you.
In marriage, you sacrifice the adrenaline rush of seeing someone new for the comfort of being with someone who knows everything about you and loves you anyway.
When you are on assignment, film is the least expensive thing in a very practical sense. Your time, the person's time, turns out to be the most valuable thing.
To photograph truthfully and effectively is to see beneath the surfaces and record the qualities of nature and humanity which live or are latent in all things.
Reporters listen, photographers look. If you are doing your job seriously as a photojournalist, your sight must be the primary sense that you use at all times.
On close inspection, this device turned out to be a funereal juke box - the result of mixing Lloyd's of London with the principle of the chewing gum dispenser.
Nowadays, with digital printing, it's so easy to make everything perfect, which is not always a good idea. Sometimes the mistakes are really what make a piece.
It's a given your family will be tired of being photographed, but don't give up. In another couple of decades, those are the pictures you will be glad to have.
I am constantly preoccupied with how to remove distance so that we can all come closer together, so that we can all begin to sense we are the same, we are one.
Once you start painting, you could of course get lost. I mean you get out of yourself, you don't know whether you're thinking, you just act actually sometimes.
Still photographs are the most powerful weapon in the world. People believe them, but photographs do lie, even without manipulation. They are only half-truths.
To me, photography is like a quest, or a pilgrimage, or a hunt. I love painting, I love music, but photography is what has allowed me to get outside of myself.
Each tree has its own personality, i chose them by the way I felt at the moment. Sometimes they even change my sentiments. It's kind of a spiritual experience.
It's got to do with the contention between content and form. Invariably that's what's responsible for its energies, its tensions, its being interesting or not.
The suburban landscape is alien and strange and exotic. I photograph it out of longing and desire. My photographs are also about repression and internal angst.
To be a photographer, one must photograph. No amount of book learning, no checklist of seminars attended, can substitute for the simple act of making pictures.
The images of war inspired me to create, to go to different situations and communities, to document the human side of people, to show a side that we don't see.
I wanted to go amongst gangbangers, to understand this war they were fighting amongst each other. I wanted to document it, [also] to show the human side of it.
Color is seductive. It changes as it interacts with other colors, it changes because of the light falling upon it, and it changes as it becomes larger in size.
What I like so much about photography is precisely the moment that cannot be anticipated; one must be constantly on the alert, ready to acclaim the unexpected.
I gravitate towards places where humans have been and are no more, to the edge of man's influence, where the elements are taking over or covering man's traces.
My desire is to preserve the sense of people’s lives, to endow them with the strength and beauty I see in them. I want the people in my pictures to stare back.
When I did my first story for Italian Vogue for Franca Sozzani, she gave me something like 47 full pages, and I was like, That's all? I didn't know any better.
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.
Actually, ambition won't get you that far. You'll shift gears. You'll see something that's shinier. But if you believe... then you're the long-distance runner.
We had a hodgepodge of footage. We didn't film [in Dream of Life ]all the time - we would just film periodically, so nothing was synced and nothing was slated.