Quotes of All Topics . Occasions . Authors
It was sometimes provoked by assignments, then I'd go back on my own dime if I really clicked with a place. And sometimes it was just hanging out with my family or friends.
If a day goes by without my doing something related to photography, it's as though I've neglected something essential to my existence, as though I had forgotten to wake up.
I came up with more money, took all the footage, got a great editor and made this film [Dream of Life]. But I really didn't go into it with the intention of making a movie.
Photographs are still always depictions, it's just that for my generation the model for the photograph is probably not reality any more, but images we have of that reality.
I like to think that my works flow like music. That may be one reason I work in large groups versus one picture of one thing; it's the flow of the whole series that counts.
More Medals of Honor were given for the indiscriminate slaughter of women and children than for any battle in World War I, World War II, Korea, Vietnam, Iraq or Afghanistan.
Richard Avedon taught me that if you go into a photo session and come out with what you had hoped for, it’s a failure. You need to be surprised if you want it to be magical.
I work using the Brian Eno school of thinking: limit your tools, focus on one thing and just make it work… You become very inventive with the restrictions you give yourself.
On practical level I can't pick up the camera until I think I know what I want. I don't wander around. It's almost impossible for me to pick up a camera... it's really hard.
It seems that everywhere I go, people want the same things - security, education, family. It's just that so many people have no avenues through which to obtain these things.
One is not really a photographer until preoccupation with learning has been outgrown and the camera in his hands is an extension of himself. This is where creativity begins.
In '73 I photographed the cannibals in New Guinea. They treated me OK but they didn't make you feel relaxed... I managed to escape unscathed though, I'm pretty good at that.
Most people go through life dreading they'll have a traumatic experience. Freaks were born with their trauma. They've already passed their test in life. They're aristocrats.
I find it some of the hardest photography and the most challenging photography I've ever done. It's a real challenge to work with the natural features and the natural light.
My mountaineering skills are not important to my best photographs, but they do add a component to my work that is definitely a bit different than that of most photographers.
We're responsible for everything that's included in the frame. We're also responsible for what's not included in the frame. We're responsible for the way we frame the world.
If an image is powerful enough, if it resists us, if, by its obscure coherence, part of it escapes our understanding, then it means that something has been won from reality.
Photos always seem to exist as sort of stuffy, unnecessary antiques that we put in a drawer — unless we take them out, put them in current dialogue, and give them relevance.
When a mother takes pictures of her children on the beach, she doesn't take herself for an artist; she does it for love, which is an excellent reason, from my point of view.
There can be no doubt that probability increases with practice. Fortune favours the brave, fortune favours the prepared mind, and fortune favours those who work the hardest.
The only time I went out was to go to bars at night and all the pictures were taken with a flash because there was no light at all. However now I'm very interested in light.
There's something else that makes a woman interesting, something beyond being young or being old. And I'm going to find out what that something else is before I die, I hope.
I was a Catholic boy, I went to church every Sunday. A church has a certain magic and mystery for a child. It still shows in how I arrange things. It's always little altars.
What is truth in photography? It can be told in a hundred different ways. Every thirtieth of a second when the shutter snaps, its capturing a different piece of information.
I'm in between an installation artist, video artist and photographer. And when you work with nude bodies, you're immediately called a pornographer or a fashion photographer.
I did a film on Muhammad Ali before he was champion. I was there when he became champion in 1964. I was happy to be able to document the development of a real American hero.
What I'm interested in is happiness with a full awareness of the tragedy of life, the potential tragedy that lurks around every corner and the tragedy that actually is life.
Beautiful dreams - if the world were more beautiful they would come true - But the world is relentless & cruel - people are - they must be, I suppose, or they could not live.
Glenda Bailey is a woman after my own heart who believes that climbing the career ladder can be overrated, to say the least. After all, why not just go for what you want now?
Understanding the materials I work with... gives me a deeper understanding of my place. And it's helped me make sense of the changes that are happening to me as I grow older.
As fantastic as it is to have 'Vogue' and 'Vanity Fair' as places to work, I don't often get to shoot the kind of things I like to photograph in the way I like to photograph.
I expect to retire to a fine-grained heaven where the temperatures are always consistent, where the images slide before one's eyes in a continual cascade of form and meaning.
Without social media, I'd probably just be a quirky, amateur photographer with a hard drive full of photos. I'd be cold calling respected publications, begging for a feature.
I always thought that one of the reasons why a painter likes especially to have other painters look at his or her work is the shared experience of having pushed paint around.
The work is what it is and hopefully it's seen as feminist work, or feminist-advised work, but I'm not going to go around espousing theoretical bullshit about feminist stuff.
Improvisational things about picture-making... learned from working with the small camera early on have served me well in being able to think quickly when making [portraits].
The most awful museums are in China. They have magnificent stuff on display and just the worst way of displaying it. They just don't spend money on lighting and installation.
Things looked funny because my pictures depend on an emotional state... I know this is true and I thought about this for a long time. Somehow it made me feel very, very good.
The thing itself photographed becomes less interesting when you go back to it years later but I think the photograph becomes more important later when the reality has passed.
What's important to me is that there's a necessary alienation between me and the subject. I don't want to know them well. I don't want to have any intimate contact with them.
When I started photographing my boyfriend of years ago, Brian, I realised I had no right to photograph other people having sex if I wasn't prepared to take them of myself too
... the effort, diligence, and care required in practicing must be quickly suspended when pressure coming from anxiety or a desire for fast results causes them to degenerate.
It's not my intention to shock, to offend, sensationalise, be political or whatever; only to make work that is as spiritually meaningful as I can make it-whatever the medium.
You are the Self, that perfect immutable Self. Nothing else exists. Nothing else ever existed. Nothing else will ever exist. There is only one Self and you are That. Rejoice!
The war correspondent has his stake - his life - in his own hands, and he can put it on this horse or that horse, or he can put it back in his pocket at the very last minute.
I try and take the commonplace - and some of it is writ large, like death - take the commonplace and make it universally resonant, revelatory, and beautiful at the same time.
You have a specific, defined audience-at MTV, they assume the audience to the news is 15 to 30 years old and they do a lot of research about the things they're interested in.
The kinetic quality of New York, the kids, dirt, madness - I tried to find a photographic style that would come close to it. So I cropped, blurred, played with the negatives.
If you want to be a creative person, then you’re gonna have to be creative in how you put your career together. There isn’t a path. Part of the creativity is making your path.
The relationship between the public and the artist is complex and difficult to explain. There is a fine line between using this critical energy creatively and pandering to it.