Quotes of All Topics . Occasions . Authors
The education, the cultural awareness, is different in Europe, especially in France, from that in the United States. So I think the public will be much more appreciative of many images.
'Color' is quite different from 'colors.' In an image with many colors, we find that all the colors compete with each other rather than interacting with each other. The results" colors.
Don't forgive and never forget; Do unto others before they do unto you; and third and most importantly, keep your eye on your friends, because your enemies will take care of themselves!
No matter how advanced your camera you still need to be responsible for getting it to the right place at the right time and pointing it in the right direction to get the photo you want.
If I want a small take-everywhere camera, I prefer my iPhone 5, which has colors and tonal range superior to any DSLR or compact digital camera I've ever used at their default settings.
My first reaction at the very idea of this interview was to refuse to talk about photography. Why dissect and comment a process that is essentially a spontaneous reaction to a surprise?
No! Beauty is emotional! That's why plastic surgery never works. Women who want to change their nose, lips, they don't understand that they are doing nothing except erasing their magic.
Before he has seen the whole, how unusually perceptive and imaginative the person must be to evolve the entire sequence by meditating on its single, pair or triplet of essential images.
My style is the paparazzi approach which is spontaneous, unrehearsed, off-guard. The beauty I'm after is inherent, more natural. Genuine emotions, real emotions, that's what I look for.
I have an abiding faith in the fact that time will change the value of photographs. What you see today may be so familiar to everyone that they don't immediately appreciate or value it.
How should we judge what we see? More intimately, let us consider the vulnerability of the human body and soul under these circumstances. It’s all creation. It’s made. It’s not a given.
Many claim I am a photographer of tragedy. In the greater sense I am not, for though I often photograph where the tragic emotion is present, the result is almost invariably affirmative.
I'm not sure how to describe my style. A lot of my work is dark and looks a bit sad, which is strange because I'm such a smiley, over-the-top positive guy who wears gold shoes most days.
Verbal representations of such places or scenes may, or may not, have the merit of accuracy; but photographic presentments of them will be accepted by posterity with an undoubting faith.
Documentary is thought to be art when it transcends its reference to the world, when the work can be regarded, first and foremost, as an act of self-expression on the part of the artist.
I have six acres in front of my own house, which I very rarely work on. Most of the work occurs on farmers' fields around me. And I like the discipline of working on other people's land.
No language on earth speaks as comprehensively as photography, always providing that we follow the chemical and optic and physical path to demonstrable truth, and understand physiognomy.
Most of what I want simply slips away like water flowing through a net, and always what remains are only vague, elusive fragments of images... that sink into countless strata in my mind.
You always need a bit of low-tech.You always need a pair of scissors, it seems to me. You can do better things.... The high-tech, somehow, you do have to combine it with low-tech things.
I am not God. But I can only do my role here on this planet. The role I feel I was given since I was a kid was to be making art and I only wanted to give and I never let money be my God.
Wherever you disrupt water from its natural cycle, there's always a winner and a loser. Whoever is the one it's directed towards is the winner, and whoever loses that water is the loser.
I began to realize that the camera sees the world differently than the human eye and that sometimes those differences can make a photograph more powerful than what you actually observed.
Because we see reality in different ways, we must understand that we are looking at different truths rather than the truth and that, therefore, all photographs lie in one way or another.
What's happening is that people are making a billion photographs a year of their cats, frequently with the cats wearing costumes. Do you think I should be doing shows of cat photography?
I want to show people as they are, not glorified, no shame - fat, bulges, wrinkles and all. I want the work to be disturbing, unsettling, provocative, challenging, and thought provoking.
I always wanted to be a photographer. I was fascinated with the materials, but I never dreamed I would be having this much fun. I imagined something much less elusive, much more mundane.
I’m just interested in people on the edges. I feel an affinity for people who haven’t had the best breaks in society. What I want to do more than anything is acknowledge their existence.
When you approach something to photograph it, first be still with yourself until the object of your attention affirms your presence. Then don't leave until you have captured its essence.
As for the fashion world, the one thing I respect is its shallowness: it's so deep - it's so serious. It can be hard to get that kind of shallowness because of its depth and seriousness.
The photographer must be absorbent - like a blotter, allow himself to be permeated by the poetic moment... His technique should be like an animal function... he should act automatically.
I spent all of my money on film. I remember I would do these set-design jobs or transcribe or just anything to get, like, a $100 check and go immediately to Adorama and buy expired film.
I have tried to bring about better communication between people. I believe that humanitarian photography is like economics. Economy is a kind of sociology, as is documentary photography.
Good photographs aren't just complex. They are enigmatic. Images are beguiling. And the way they play into our psychology, into our visual cortex, is something we still don't understand.
I believe that photography can only reproduce the surface of things. The same applies to a portrait. I take photographs of people the same way I would take photographs of a plaster bust.
I have never separated form and content. The photo should have a meaning. But my photos are also more or less well constructed. If they had false notes, they stayed on the contact sheet.
I didn’t see any difference between being a photographer or being an artist. I didn’t make those boundaries. If someone wants to think it’s art, that’s great, but I’ll let history decide.
Regardless of how you feel inside, always try to look like a winner. Even if you are behind, a sustained look of control and confidence can give you a mental edge that results in victory.
...compelling outdoor imagery always combines some kind of personal connection to nature and skillful technique. The former seems to be a form of grace, and the latter an act of the will.
I was working in a family business-the fur business - and I hated it. I was reading the New York Times want ads, and I saw a photographer's assistant job in Vogue. Things went from there.
If you go to the supermarket and buy a package of food and look at the photo on the front, the food never looks like that inside, does it? That is a fundamental lie we are sold every day.
When I visited Vietnam for Oxfam, the thing that really struck me was how the local farmers had to prepare to evacuate or climb to their mezzanines with their valuable family possessions.
I really knew when I started photographing I wanted it to be a way of knowing different cultures, not just in other countries but in this country, too, and I knew I wanted to be a voyeur.
The French have a different take on photography than Americans do. They consider photography to be absolutely parallel to literature. That often makes for a deeper perception of the work.
I baked bread, hand-ground peanuts into butter, grew and froze vegetables, and, every morning, packed lunches so healthful that they had no takers in the grand swap-fest of the lunchroom.
I have to be reminded, “’It’s your son’s birthday party. Bring a camera.’ And then, when I’m there, ‘Take a picture,’ because it doesn’t occur to me to use it as this memorializing thing.
I would bring Patti [Smith ] in to the editing room [working on the Dream of Life] and say, "This is a great moment for a voiceover, or a poem," and then we'd bring in some sound design.
This is supposed to be the Big Apple, with neighborhoods where the houses are all good-looking and the skyscrapers and everything. But to me, New York is kind of shoddy and uncomfortable.
Almost inevitably there are tensions in the picture, tensions between the outside world and the inside world. For me, a successful picture resolves these tensions without eliminating them.
[My work] is designed to speak for itself. as mementos of the fearful struggle through which the country has just passed, it is confidently hoped that it will possess an enduring interest.
As a boy I was obsessed with Egypt and Egyptology. I'm convinced it's not that uncommon. A lot of 10 or 12 year old boys become obsessed with Egypt. It's a bit like young girls and horses.