Quotes of All Topics . Occasions . Authors
We can produce imagery to share the beauty of the oceans and what is there to protect. We can also expose the truths about overharvest, climate change, and habitat loss to give oceans a voice.
...through this photographic eye you will be able to look out on a new light-world, a world for the most part uncharted and unexplored, a world that lies waiting to be discovered and revealed.
When subject matter is forced to fit into preconceived patterns, there can be no freshness of vision. Following rules of composition can only lead to a tedious repetition of pictorial cliches.
A picture can be an answer as well as a question but if you can't answer your question try to question your question... There can be questions without answers but no answers without questions.
Approaching people is not - it's ironic that it's what I do - but it's not necessarily what I enjoy doing. Later on, I'm fine. Once we get talking I have a great time but not in the beginning.
Well, I'm not going to get into that. I think that those kind of distinctions and lists of titles like "street photographer" are so stupid. I'm a photographer, a still photographer. That's it.
I never do pictures that I've done before - but I really try not to. Whenever I get an assignment I try to think how to shoot this person for this story in this magazine at this point in time.
Of course I was wearing make-up, I never went anywhere without red lipstick for 25 years! It was a form of self-preservation for me to continue to wear lipstick even though my face was broken.
These days, photographers have expensive contracts with actresses, but then the actresses have to have their names written in the column because nobody recognizes them. That's kind of strange.
To me... San Francisco is an ideal city, intellectually stimulating and naturally beautiful. The oceans and forests are close enough to refresh the spirit; the architecture is always exciting.
I say half jokingly that photography is the most difficult of the arts. It does require a certain arrogance to see and to choose. I feel myself walking on a tightrope instead of on the ground.
I can't think of any flower that wouldn't be suitable to merge with an image of a newborn, and as I was planning for the book, Miracle, I was drawn to blossoms that appealed to me artistically.
You don't make a photograph just with a camera. You bring to the act of photography all the pictures you have seen, the books you have read, the music you have heard, the people you have loved.
I am sure the next step will be the electronic image, and I hope I shall live to see it. I trust that the creative eye will continue to function, whatever technological innovations may develop.
You always want to come back with an image that's interesting visually, and you hope to get something from the person you photograph that's different than other images you know of these people.
I think if you don't feel passionate about the first movie you're doing, in the end the project will lack something because you don't have enough experience to make the movie something special.
Until cubism, all art, all pictures, could be 'read' by anybody. If this hadn't been so, the Christian message wouldn't have been seen by peasants and its importance would have been diminished.
One should really use the camera as though tomorrow you'd be stricken blind. To live a visual life is an enormous undertaking, practically unattainable. I have only touched it, just touched it.
I write in order to express what the photo itself cannot say. A photograph of my father doesn't tell me what I thought of him, which for me is much more important than what the man looked like.
In our ephemeral information age, people think we've left behind the stone, bronze, and iron ages. But they're all still going on - we use tonnes of this stuff every day. You just have to look.
You can find pictures anywhere. It's simply a matter of noticing things and organizing them. You just have to care about what's around you and have a concern with humanity and the human comedy.
A studio session ... provides the greatest chance for control. Even though there is total freedom, I still dislike studio photography and the contrived images that usually stem from this genre.
I suffered first as a child from discrimination, poverty ... So I think it was a natural follow from that that I should use my camera to speak for people who are unable to speak for themselves.
I spend a lot of time preparing. I think a lot about what I want to do. I have prep books, little notebooks in which I write everything down before a sitting. Otherwise I would forget my ideas.
With a photograph, you are left with the same modes of interpretation as you are with a book. You ask: 'What do we know about the author and their background? What do I know about the subject?'
The central act of photography, the act of choosing and eliminating, forces a concentration on the picture edge - the line that separates in from out - and on the shapes that are created by it.
I feel concerned by what happens in the world.... I don't want to merely document; I want to know why a certain thing disturbs or attracts me and how a situation can affect the person involved.
What I'm trying to do is make photographs that are universally understood... that cross cultural lines. I want my photographs to be about the basic emotions and feelings that we all experience.
I think this is the most exciting time in the history of photography. Technology is expanding what photographers can do, like the microscope and the telescope expanded what scientists could do.
Art does not in fact prove anything. What it does do is record one of those brief times, such as we each have and then each forget, when we are allowed to understand that the Creation is whole.
Beauty, which I admit to being in pursuit of, is an extremely suspect word among many in the art world. But I don't think you can get along without it. It's the confirmation of meaning in life.
If you place the imperfect next to the perfect, people will see the difference between the one and the other. But if you offer the imperfect alone, people are only too apt to be satisfied by it.
It takes between three and six hours to make each snowball, depending on snow quality. Wet snow is quick to work with but also quick to thaw, which can lead to a tense journey to the cold store.
There is a myth that the portrait photographer is supposed to make the subject relax, and that's the real person. But I'm interested in whatever is going on. And I'm not that comfortable myself.
When I started working for Rolling Stone, I became very interested in journalism and thought maybe that's what I was doing, but it wasn't true. What became important was to have a point of view.
Everyone can do a character the way they want to do it, unless the director tells them not to, which isn't very common. I like to do my characters, if it's not specific in the script, as myself.
When I meet somebody in the street who knows about 'Humans of New York,' a lot of times they might have a scripted answer, and that scripted answer is the first thing to come out of their mouth.
Freaks was a thing I photographed a lot. It was one of the first things I photographed, and it had a terrific kind of excitement for me. I just used to adore them. I still do adore some of them.
Covering a historic event is perfectly legitimate. It's not sneaking into somebody's boudoir... These people belong to history, and not to record that if you have the opportunity would be wrong.
Being a woman is just a marvelous plus in photographing. Men like to be photographed by women, it becomes flirtatious and fun, and women feel less as if they're expected to be in a relationship.
Luckily, many other people tell me how they have had a particular landscape photograph of mine in their office or bedroom for 15 years and it always speaks to them strongly whenever they see it.
Most photographs are of life, what goes on in the world. And that's boring, generally. Life is banal, you know. Let's say that an artist deals with banality. I don't care what the discipline is.
You don't solve anything ever, really. You simply state a problem which, when you're lucky, gives you some idea of what possible problems you can - it indicates, you know, your future headaches.
I don't have anything to say in any picture. But you do, from your experience, surmise something. You do give a photograph symbolic content, narrative content... But it's nothing to worry about!
To photograph is to hold one's breath, when all faculties converge to capture fleeting reality. It's at that precise moment that mastering an image becomes a great physical and intellectual joy.
We photographers deal in things which are continually vanishing, and when they have vanished there is no contrivance on earth can make them come back again. We cannot develop and print a memory.
What’s so incredibly amusing with photography is that while seemingly an art of the surface, it catches things I haven’t even noticed. And it pains me not to have seen things in all their depth.
I have the instruments, ideas, technology, computer techniques. We try to create or see something, which has not been known before - just to discover something together. This is always my dream.
I'm not very good at working for other people. I mostly make pictures because of some whim. With luck, I get a glimpse of something, and then it turns into an adventure, and then into a project.
A photographic portrait is a picture of someone who knows he is being photographed, and what he does with this knowledge is as much a part of the photograph as what he's wearing or how he looks.