Quotes of All Topics . Occasions . Authors
All of my work has been about ideas of utopia and dystopia. I think that's what gives America interest. It's many things all at once. It's such a complicated society.
There are more than 27 million people enslaved in the world today - that's double the amount of people taken from Africa during the entire trans-Atlantic slave trade.
We're [Ocean Conservancy group] trying to convince people it's a bad idea to catch fish faster than they can reproduce. That should be a duh, but it's still going on.
Sepia in particular tends to make everything look a bit romantic and almost sentimental, hence the fact that it remains such a popular choice for wedding photographs.
A very receptive state of mind... not unlike a sheet of film itself - seemingly inert, yet so sensitive that a fraction of a second's exposure conceives a life in it.
I never had the time or luxury to think about inventing my own colour theory. When colour came, I was interested in expressing things that happened around me in time.
My photographs don't go below the surface. They don't go below anything. They're readings of the surface. I have great faith in surfaces. A good one is full of clues.
A person cannot learn to be a photographer. He can only cultivate what he already has. I try to make people aware that they have something very precious to cultivate.
Working with existing pictures, like I do, you constantly think about the flood of images we are subjected to and you want to figure out how you can make sense of it.
I have never been interested in making a photograph that describes what the world I live in looks like, but I am interested in what pictures (of the world) look like.
I have some that I have become a well-known-even infamous-client of, mostly in Memphis. But a great deal of that is legend and doesn't have anything to do with truth.
Boy George of course, was my idol as a teenager. I haven't photographed him, even though I know him now. He wants the pictures to be retouched, and I don't want that.
We look at the world and see what we have learned to believe is there. We have been conditioned to expect... but, as photographers, we must learn to relax our beliefs.
I seldom think when I take a picture. My eyes and fingers react - click. But first, it's most important to decide on the angle at which your photograph is to be taken.
We are only beginning to learn what to say in a photograph. The world we live in is a succession of fleeting moments, any one of which might say something significant.
While Jane Fonda has no shortage of knowledge to share, I was particularly moved and fascinated by her recovery from bulimia, which she battled with for over 25 years.
Everything is a subject. Every subject has a rhythm. To feel it is the raison detre. The photograph is a fixed moment of such a raison detre, which lives on in itself.
As soon as you put something to bed like the 'Women' book, you're never finished. There were portraits of people that I wanted to photograph - it's an endless subject.
I am probably afraid that some spectator will not understand my photography - therefore I proceed to make it really less understandable by writing defensibly about it.
For the obvious reason that nature - unadulterated and unimproved by man - is simply chaos. In fact, the camera proves that nature is crude and lacking in arrangement.
[My mother] would have me smothered like the Princes in the Tower if I showed any inclination for being an artist. She thought all artists little better than lunatics.
When the magic hour arrives, my thoughts center on light rather than on the landscape. I search for perfect light, then hunt for something earthbound to match with it.
I like to feel that all my best photographs had strong personal visions and that a photograph that doesn't have a personal vision or doesn't communicate emotion fails.
The power of our Muse lies in her meaninglessness. Even the style can turn one into a slave if one does not run away from it, and then one is doomed to repeat oneself.
[W]e have ceased to see the life in which we live. It is my intent to cause the viewer to revisit the gifts we are surrounded by and see them as if for the first time.
A picture is like a prayer; you're offering a prayer to get something, and in a sense it's like a gift of God because you have practically no control-at least I don't.
Above all, I craved to seize the whole essence, in the confines of one single photograph, of some situation that was in the process of unrolling itself before my eyes.
Inside movement there is one moment in which the elements are in balance. Photography must seize the importance of this moment and hold immobile the equilibrium of it.
I am neither an economist nor a photographer of monuments, and I am not much of a journalist either. What I am trying to do more than anything else is to observe life.
The Buddhist concept is that it takes 48 days to get near this state [of death]. So it's a slow process, moving into, not a permanent death, but the world of the dead.
At a fundamental level photography is much like pointing, and all of us occasionally point at things: look at that, look at that sailboat, look at that tree, etc. etc.
All the technique you can learn - and you should learn everything you can - you should have it here in the fingers not here in the head - and then you forget about it.
The world was waiting to be full of discovery made(as a photographer) I could share the things I saw and learned.you would react to something all others might walk by.
Why is Form beautiful? Because, I think, it helps us confront our worst fear: the suspicion that life may be chaos and that therefore our suffering is without meaning.
Almost all photographers have incurred large expenses in the pursuit of tiny audiences, finding that the wonder they'd hoped to share is something few want to receive.
Typically I see it with photographers who go to a place like India or Nepal, and everything's so colorful and exotic and they think, therefore, a picture's been taken.
I am interested in the conventions of picture-making, in the desire to picture the world and in our relationship, our continual love for and fascination with pictures.
When I was a kid in New York, long before saturation sports coverage, the world heavyweight championship was, with the baseball World Series, the great national event.
It's important to me to have what I photograph undergo a certain transformation - to become a thing different from what we are used to, to be another version of itself.
All dancers are, by and large, a photographer's dream. They communicate with their bodies and they are trained to be completely responsive to a collaborative situation.
It is just as important to bring people the evidence of the beauty of the world of nature and of man as it is to give them a document of ugliness, squalor, and despair.
Religion is a major player in the poaching crisis. We've ignored it, we've accorded religion too much respect in this regard, and we've placed devotion above slaughter.
I have the worst ear for criticism; even when I have created a stage set I like, I always hear the woman in the back of the dress circle who says she doesn't like blue.
I absolutely hate technology, and I'm computer illiterate, and I never use any labor-saving devices although I'm not convinced that a computer is a labor-saving device.
All my ex-girlfriends or wives are all kind of great friends and I've never understood somebody who can live with somebody for five or six years and then not like them.
Taking photographs is not something that happens only in a moment I press the button. It is a full-time occupation. For me there is difference between leisure and work.
I always work better when I do not reason, when no question of right or wrong enter in,-when my pulse quickens to the form before me without hesitation nor calculation.
I don't really have a favorite camera. I use a Leica and Canon a lot. It depends, especially professionally, on the requirements. But my carry-around camera is a Leica.
There are almost too many possibilities. Photography is in direct proportion with our time: multiple, faster, instant. Because it is so easy, it will be more difficult.
What you need to be a good photographer is an overwhelming curiosity and a good digestion. Sometimes you feel blessed with curiosity, sometimes you feel cursed with it.