Quotes of All Topics . Occasions . Authors
I'm petrified of facing the camera. Even to shoot for a photograph is an ordeal. But it's important to break free of your inhibitions at some point in your life.
With every (informative) photograph, the photographic program becomes poorer by one possibility while the photographic universe becomes richer by one realization.
I still think as a painter - especially in terms of structuring a picture... I carefully choose the models, costumes, requisites, and backdrops of my photographs.
It's always weird doing love scenes. And the thing is, you can't really photograph two people kissing naturally, because then you wouldn't be able to see anything.
One of my challenges was to try to photograph the Great Wall of China. And I did actually take some photos, but it was hard to discern the wall with the naked eye.
I don't even know what an 'It' girl is. As far as I'm concerned, an 'It' girl is somebody who doesn't do anything except go to parties and get her photograph taken.
There are certain restaurants where you should photograph the food rather than eat it. These are great places to bring a narcissistic boyfriend before you break up.
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.
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.
I love coffee, but I don't photograph it. That's not who I am. I'm a social creature, so my subject should not be the coffee. It's about being together with friends.
I'm struck these days by how often people come up to me and ask to take a photograph instead of shaking hands, meeting one's eyes, and having an actual conversation.
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.
In Majorca, I can be myself. I go to the supermarket and the cinema, and I am just Rafa. Everyone knows me, and it is no big deal. I can go all day - no photographs.
Content to me is very important, but I like it when [the photograph] is also enigmatic. If you don't know what it is you begin to speculate, and that is what I want.
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 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.
Noise does not disturb me, as I think that it gives a quaint atmosphere to a picture that fully matches my vision of nature and the wild species I like to photograph.
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 don't pay attention to celebrities. I don't photograph them. They don't dress so... interestingly. They have stylists. I prefer real women who have their own taste.
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.
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.
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 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.
I'm very interested in making the photographs look real, but a lot of them are highly synthetic. They're hybrids, located somewhere between the found and the constructed.
I'm more interested in photographing people who have done something, like writers or directors - even billionaires - as long as I can study them before I photograph them.
Sometimes I work on film sets. I've done this for 40 years. I always wanted to photograph on the set of an Ingmar Bergman film. Unfortunately, I never had the opportunity.
I've photographed just about everyone in the world. But what I hope to do is photograph people of accomplishment, not celebrity, and help define the difference once again.
Anybody can direct a picture once they know the fundamentals. Directing is not a mystery, it's not an art. The main thing about directing is: photograph the people's eyes.
In a place like Afghanistan where the society is completely segregated, women have access to women. Men cannot always photograph women and cannot get the access that I get.
I hate my picture being taken. A photograph by definition captures one mood. And I have a million facets to my personality; I never use just one. That's why I like TV more.
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.
[The photograph] is the object itself... [It] shares, by virtue of the very process of its becoming, the being of the model of which it is the reproduction; it is the model.
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.
Don't let anything sneak past you. Don't say, 'Well, oh, I'll take a picture and put it in my photograph album.' I notice it now. I love it now. And I am grateful for it now.
I don't think that there's anything that we shouldn't be allowed to photograph, really, unless there's something that's really deeply harmful to the subject in the photograph.
In my mind I needed a symbol of today's technology, and I realized that what I wanted to photograph was the Space Shuttle. And so that's where Places of Power came into being.
How do you photograph a gadget in a new, and not boring, way? You have to get away from people sitting in front of a computer. You have to get a look at the digital signature.
My dream concept is that I have a camera and I am trying to photograph what is essentially invisible. And every once in a while I get a glimpse of her and I grab that picture.
Margaret Thatcher was in my year, and our first-year college photograph shows us standing side by side in the back row. We were both grammar school girls on state scholarships.
Becoming a mother hasn't necessarily changed how I shoot, but it certainly has made me more sensitive, and it certainly makes it much harder for me to photograph dying children.
I saw a photograph of a wedding conducted by Reverend Moon of the Unification Church. I wanted to understand this event, and the only way to understand it was to write about it.
I just really wanted to do art, except when I was taking those photographs of people I would make the clothes that I would photograph them in so I could control the whole thing.
I have no intention of flattering people. I like wrinkles and crow's feet and flaws, and somebody should know, if I'm going to photograph them, that's going to show up, you know?
What if I said that every photograph I made was set up? From the photograph, you can't prove otherwise. You don't know anything from the photograph about how it was made, really.
If you're not going to tell something if you're not going to expose something it's real easy to go in and photograph from behind the camera and not expose any of your weaknesses.
I want to photograph the considerable ceremonies of our present. I want to gather them, like somebody's grandmother putting up preserves, because they will have been so beautiful.
You can give some kind of spark of life to a comic that a photograph doesn't really have. A photograph, even if it's connecting with you, it seems very dead on the page sometimes.
Mourinho knows me! He sat in my lap as a little boy, and wanted his photograph taken with me. I knew his father and so I bounced little Jose on my knee. He always looked up to me.
There are cultures that believe having your photograph taken steals your soul. I don't think there is a stolen soul in a picture, but still - why is it so hard to throw them away?