Quotes of All Topics . Occasions . Authors
Religion: A lot of fanciful ideas inspired by wishful thinking. Science: A lot of logical ideas based on the best evidence available. Which should we have faith in?
I think that the world is really in very dark ages. In America this could have never been showed, we are even more lost over there than in Europe. We are very lost!
The author I wish I was reading right now and always is Nora Ephron. I love the humor, the awareness, the sense of self-deprecation. She is such a role model to me.
My intention is to make interesting photographs. That's it, in the end. I don't make it up. Let's say it's a world I never made. That's what was there to deal with.
It's never as good the second time. Things don't get better. You can't always go back, a lot of it has been erased. The photograph is a record of it having existed.
I never use a telephoto lens. I need to be close to people. I need their complicity; I need them to be aware that I am there taking their picture. I hate paparazzi.
What I particularly liked was that, coming from California and not being involved in the New York scene, I developed my personal way, in my own way, at my own pace.
Everyone asks me how I get my subjects to open up to me. There’s no formula to it. It’s just a matter of who you are and how you talk to people - of being yourself.
I go into every story thinking I'm going to fail. I think about that all the time - I think it's going to be terrible. Every story is like the first I've ever done.
My aesthetic is derived from my point of view which is one of optimism and hope. The camera became a conduit for my need to create a more beautiful world around me.
For a photographer, it's a necessity that you can shoot stuff magically. Accidents are necessary, but after I take the photograph, it's not over. I work on it more.
There is always a subjective aspect in landscape art, something in the picture that tells us as much about who is behind the camera as about what is in front of it.
The thing about being a photographer that's so cool is that you get to participate, but you also get to disappear. The camera is in front of your face all the time.
The language that photography has is a formal language. Any photographer is doing something formal. If it's formal, then it must be an aesthetic way to communicate.
No image, however accomplished, could have captured the agonizing poignancy of that moment. It was a moment to be lived, not framed, analysed or reduced in any way.
If you stop searching, you stop living, because then you're dwelling in the past. If you're not reaching forward to any growth or future, you might as well be dead.
[Photography is] very related to poetry. It's suggestive and fragmentary and unsatisfying in a lot of ways. It's as much about what you leave out as what you put in.
You can photograph anything. You can be inside, outside, doesn't matter, you're controlling the light. It gives you great flexibility. That was a primary motivation.
I believe women need to hear stories and see images that they can identify with, not media-fabricated ideals that even the 'role models' themselves can't live up to.
Three or four stones in one firing will all react differently. I try to achieve a balance between those that haven't progressed enough and those about to go too far.
I fell in love with the darkroom, and that was part of being a photographer at the time. The darkroom was unbelievably sexy. I would spend all night in the darkroom.
And I was very, very much influenced by the films of Jean Cocteau and by Sartre and everything that came out of France because it was closer than America or England.
What we need of equipment is this: let it possess as good a structure as the real-life content that surrounds us. We need more simplifications to free us for seeing.
I don't see the point of photographing trees or rocks because they're there and anyone can photograph them if they're prepared to hang around and wait for the light.
Lately I've been struck with how I really love what you can't see in a photograph. An actual physical darkness. And it's very thrilling for me to see darkness again.
... it came to me that what I had to do was to take pictures and concentrate upon people, only people, all kinds of people, people who paid me and people who didn't.
I think that there isn't a photograph in the world that has any narrative ability... They do not tell stories - they show you what something looks like. To a camera.
Photography and writing are marvelous distractions from painting. I might even have found movies more interesting than photography. I tried it a bit, but not enough.
I just yesterday returned from a trip where I photographed a woman with two children whom I photographed first when she was the age of the older of the two children.
I wish for you to stand up for what you care about by participating in a global art project, and together we'll turn the world inside out. And this starts right now.
Of course, today at the Karolinska Institute, I am working with some top experts - even some Nobel prize winners. They have the latest news and I have the technique.
For me it is not a detachment to take a picture. It's a way of touching somebody - it's a caress… I think that you can actually give people access to their own soul.
I usually work really instinctively and it's afterwards that I think about what it means. I don't know consciously that I have these themes that run through my work.
A camera can get you close without the burden of commitment. It's a nifty device that way, a magical passport into people's lives with no permanent strings attached.
I'm just at the beginning of my dream. At 78, I'm finally at the place now for myself where I feel my true voice has a potential of being expressed out in the world.
Even though most people were disconnected from [travel ban], the moment amplified a fairly massive and somewhat irrational fear that exists in the populace at large.
I think the relationship between print and film is symbiotic, it's more about evolving and complimenting your existing content. The two are very much interconnected.
I've been the head of the photography program at Bard College for over 30 years, and I take that as seriously as I do my photography. My time is devoted to that too.
I can’t stand these damn shows on museum walls with neat little frames, where you look at the images as if they were pieces of art. I want them to be pieces of life!
I started making photographs as if I were a child myself. This got me to look at things more closely, more slowly, and from vantage points I hadn't considered before.
My sculpture can last for days or a few seconds - what is important to me is the experience of making. I leave all my work outside and often return to watch it decay.
There is life in a stone. Any stone that sits in a field or lies on a beach takes on the memory of that place. You can feel that stones have witnessed so many things.
To visualize an image (in whole or in part) is to see clearly in the mind prior to exposure, a continuous projection from composing the image through the final print.
The skies and land are so enormous, and the detail so precise and exquisite that wherever you are you are isolated in a glowing world between the macro and the micro.
It just struck me that one of the things about photography that made it such a compelling medium to deal with is that it is perhaps the most contradictory of mediums.
The more horrific works came out of a feeling that everyone accepted my stuff too easily. I was deliberately trying to be antagonistic towards collectors and critics.
It sometimes takes a foreigner to come and see a place and paint it. I remember someone saying they had never really noticed the palm trees here until I painted them.
People say don't stare. Through the photos, not only do I stare, but I allow viewers to stare at the subject, to see things that they cannot see with a casual glance.
The camera can be a machine gun, a warm kiss, a sketchbook. Shooting a camera is like saying, Yes, yes, yes. There is no maybe. All the maybes should go in the trash.
I don't know whether the future or 2018 exists or not, but if it exists, I'm offering a show to a museum in Australia titled "Time Reversed." Time is going backwards.