Quotes of All Topics . Occasions . Authors
I almost never set out to photograph a landscape, nor do I think of my camera as a means of recording a mountain or an animal unless I absolutely need a 'record shot'. My first thought is always of light.
The good photograph is not the object, the consequences of the photograph are the objects. So that no one would say, how did you do it, where did you find it, but they would say that such things could be.
I don't know what my formula is. I only know I like my characters to walk in clouds. I like a little bit of the fairy tale. Let others photograph the ugliness of the world. I don't want to distress people.
I wasn't familiar with Patti [Smith ]much at all. When I was asked to photograph her, my wife said, "Oh my God, Patti Smith!" So I looked at some Robert Mapplethorpe books and I recognized those pictures.
When you photograph someone, you have to make them feel good, and you know that they want to look good. It's the same relationship that you have when you apply makeup on somebody. We're almost like shrinks.
A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what’s in the picture
My family were symphonic musicians and in the opera. Also, it was my era, the love of radio. We used to listen to the radio at night, close our eyes and see movies far more beautiful than you can photograph.
If anybody wanted to photograph my life, they'd get bored in a day. 'Heres Matt at home learning his lines. Here's Matt researching in aisle six of his local library'. A few hours of that and they'd go home.
I'm a huge, huge fan of photography. I have a small photography collection. As soon as I started to make some money, I bought my very first photograph: an Henri Cartier-Bresson. Then I bought a Robert Frank.
I don't think it is even possible to define what a good photograph is, so it is difficult to instruct anybody how to make one. Beauty and aesthetics are subjective, and very much in the mind of the beholder.
This stupid celebrity thing is just a consequence of being good at what you do. I mean, no one would photograph David Beckham if he wasn't the best attacking midfielder in the country - much as I hate Man. U!
If someone is nice enough to come up to you and tell you how much they enjoy your work, and all they want in return is to take a photograph and for you to chat for five minutes, then I am delighted to do that.
I love sharing photographs and websites, I'm for all of these things. I'm for Facebook. But to say that this is sociability? We begin to define things in terms of what technology enables and technology allows.
In almost every photograph I have ever made, there is something I would do to complete it. I take that to be the spirit hole or the deliberate mistake that's in a Navajo rug to not be godlike, but to be human.
Well, there's that girl on the Internet - although this isn't an example of someone who doesn't know they're on - but there's a girl on the Internet who posts one photograph every two minutes from her bedroom.
You don't necessarily get the background of a character every time, So, you have to create it mentally and write about it. This is something I learnt from Geetanjali Kulkarni with whom I worked in 'Photograph.'
I have to stay in shape for the physical endeavour stunts I do. I work out a lot. I have a personal trainer. I go two or three times a week. I'm on a diet where I photograph everything I eat and send it to her.
Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads – as an anthology of images. To collect photographs is to collect the world
In 3-D filmmaking, I can take images and manipulate them infinitely, as opposed to taking still photographs and laying them one after the other. I move things in all directions. It's such a liberating experience.
You open a section of 'The New York Times,' and there's a review or a story on a choreographer or a dancer, and there's an informative, clear image of a dancer. This is, in my view, not an interesting photograph.
There are things that I teach, about building photographs, and that's why people come to my workshops. When people come to the workshops, they're consumed with seeking the subject, and I teach seeking the setting.
There is one thing the photograph must contain, the humanity of the moment. This kind of photography is realism. But realism is not enough - there has to be vision, and the two together can make a good photograph.
People aren't really looking at the result when taking a picture on an iPhone. And they don't print it. So to me, it's almost not a photograph. It's like looking in the mirror. It's a tool I don't relate to at all.
I am trying to capture the women I photograph at their happiest. That is when they look their most beautiful. But I do understand that you have to make somebody feel completely comfortable in order to bring that out.
I treat the photograph as a work of great complexity in which you can find drama. Add to that a careful composition of landscapes, live photography, the right music and interviews with people, and it becomes a style.
I never photograph anything I don't believe in. If I love working with death, it's because even in death I find this power of reality that no sculptor or painter could recreate, not even a Michelangelo or a Da Vinci.
The photographs of Iraqi prisoners being subjected to degrading and humiliating treatment by their captors, and the reports of acts of sexual abuse, physical abuse, and other acts of maltreatment shock the conscience.
For me, every photograph is a portrait; the clothes are just a vehicle for what I want to say. You're photographing a relationship with the person you're shooting; there's an exchange, and that's what that picture is.
I'd never seen Rigondeaux's face without it being obscured by headgear or a photograph of Fidel he was holding up after winning a tournament. Finally I saw him, only to recognize the saddest face I'd ever seen in Cuba.
I have never seen a picture of my mother. My mother's family never owned a photograph of her, which tells you everything you need to know about where I'm from and what the world was like for the people who gave me life.
It's weird: people used to want your autograph; now what they want to do is to take your photograph with an iPhone. And sometimes they'll pop their arm around you to hold their iPhone; they're shaking when they take it.
I try and photograph people as they are. I do not want to hide anything. I want to bring across a personality, a humanity. It is not a case of model A or model B against a white background. I am interested in the person.
My photographs are not planned or composed in advance, and I do not anticipate that the onlooker will share my viewpoint. However, I feel that if my photograph leaves an image on his mind, something has been accomplished.
Fantasy isn't something I put into the pictures; I don't try and inject them with a sense of play. But it's about being an honest photographer; a photograph is as much of a mirror of the photographer as it is the subject.
My brother had fabulous children before I had children and for some reason I wanted to photograph them, and that was when I got my first camera. Children have something totally unconscious about them. That's how I learned.
Everything rational and sensible abandons me when I try to throw out photographs. Time and time again, I hold one over a wastebasket, and then find it impossible to release my fingers and let the picture drop and disappear.
I admit that I am hopelessly hooked on the printed newspaper. I love turning the pages and the serendipity of stumbling across a piece of irresistible information or a photograph that I wasn't necessarily intending to read.
After Hiroshima was bombed, I saw a photograph of the side of a house with the shadows of the people who had lived there burned into the wall from the intensity of the bomb. The people were gone, but their shadows remained.
Now in the 1980s, I happened to notice that if you look at an aerial photograph of an African village, you see fractals. And I thought, 'This is fabulous! I wonder why?' And of course I had to go to Africa and ask folks why.
I've always worked from images that already exist in our culture, and I just tweak them - I photograph my vision/interpretation of things that already exist, and I take it to the extreme. And then I make paintings or videos.
I really want to become, like, a composer for my people, my country that will photograph the things that are happening now in story and in life and love but not only, like, the love of a couple, you know, the love in general.
A selfie, like any photograph, interrupts experience to mark the moment. In this, it shares something with all the other ways we break up our day: when we text during class, in meetings, at the theater, at dinners with friends.
I didn't really know what I was looking at when I first came across Man Ray's 'Dust Breeding,' his photograph of a work by Marcel Duchamp called 'Large Glass.' It looked like an aerial photograph or a view through a microscope.
I'm interested in the person I photograph. The world is so beautiful as it is; there's so much going on, which is sort of interesting. It's just so crazy, so why do I have to put some retouching on it? It's just pointless to me.
I hate getting my photograph taken; just because I'm a musician doesn't mean I should have to sell my soul and have pictures of myself on stage with a red face and sweaty armpits plastered over 'Heat!' every week. I'm not a model.
What mattered about Alan Kurdi's photograph was that it made Canadians very angry, and the Conservatives, Liberals and New Democrats ended up competing with each other over which party was offering the most generous refugee policy.
The worst thing is when people try and take pictures surreptitiously. I always say, 'Look, you can ask me for a photograph. You will get a much better one than just the side of my face.' Sometimes they just run off. They can't cope.
No one will understand a Japanese garden until you've walked through one, and you hear the crunch underfoot, and you smell it, and you experience it over time. Now there's no photograph or any movie that can give you that experience.
The planets are never the same twice, they're always different, so they could compare the markings I had drawn with their current photographs and they knew that I was drawing what I was really seeing and it wasn't copied from somewhere.
In my mind's eye, I visualize how a particular... sight and feeling will appear on a print. If it excites me, there is a good chance it will make a good photograph. It is an intuitive sense, an ability that comes from a lot of practice.