There are photographers whose shows I try to make it my business to see, if I'm in the city. There are photographers I have no interest in at all.

Whether he is an artist or not, the photographer is a joyous sensualist, for the simple reason that the eye traffics in feelings, not in thoughts.

When the British-Malaysian photographer Ian Teh first worked in China, more than a decade ago, he rendered it as a nation of people in Technicolor.

All these factors are only valuable if you're curious. But in any case, the more knowledge you have, the more things are open and available to you.

My dad had been an ardent amateur photographer, and he taught me to compose a photograph from the back to the front, and then populate the picture.

I never divide photographers into creative and uncreative, I just call them photographers. Who is creative? How do you know who is creative or not?

I've been a photographer for my whole life and I've done everything with photography that I felt I could do, and I always wanted to be a filmmaker.

To know ahead of time what you're looking for means you're then only photographing your own preconceptions, which is very limiting, and often false.

For me, the best part is people who watch the movie and tell me it inspired them to collaborate with their friend who's a photographer or filmmaker.

A lot of what I am looking for is a moment of astonishment, he says. Those moments of pure consciousness when you involuntarily inhale and say 'Wow!'

Through the experience of art, the powers of perception and transformation can be awakened, in both those who create it and those who re-perceive it.

You are either born to be a photographer or not. The art of photography is not something you can learn in the classroom or by watching someone do it.

It would drive the photographers crazy because I would giggle and tell jokes. I was gregarious, and looking back, I realize I had a captive audience.

I'm not a good photographer, not a good writer. I'm a pretty regular person whose insecurity is so pervasive that it makes me always feel vulnerable.

When you understand how to do that dance, when the photographer says, 'Hold it, do it,' and you know you're getting it right, oh, the fun. It is fun.

In conclusion, the idea of direction on the part of the photographer has its greatest value when its processes are least discernible to the spectator.

To talk about photos rather than making them seems idiotic to me. It's as though I went on and on about a woman I adored instead of making love to her.

There's a natural set of constraints with mobile phones that force you to be a better photographer by acknowledging and observing the world around you.

Photographers who come up with power never get accused of imitating anyone else even though they photograph the same broom, same street, same portraits.

Photographers and reporters are mostly after me. They want to know what I read and what I'm like and I don't really know myself, so how can I tell them?

Technically perfect, pictorially rotten. (Stieglitz's standard comment on photographs he rejected for publication in The American Amateur Photographer.)

If you can imagine photography in the guise of a woman and you’d ask her what she thought of Stieglitz, she’d say: He always treated me like a gentleman.

I started modeling and after a while the photographer Bruce Weber introduced me to Joel Schumacher, who cast me in my first film, and I just fell in love.

I've always had a healthy disregard for authority - it allows me to do my job as a portrait photographer and not as someone who is playing the power game.

Photography is a medium, a language, through which I might come to experience directly, live more closely with, the interaction between myself and nature.

The horrible thing is, as a model, it wasn't that unusual to be in a weird situation where a photographer or someone feels they have a right to your body.

There is no part of me that wants to have to pull the blinds down when I'm talking to my wife about dinner because some photographer is in a bush outside.

I don't have anything to say in any picture. My only interest in photography is to see what something looks like as a photograph. I have no preconceptions.

The journalistic photographer can have no other than a personal approach; and it is impossible for him to be completely objective. Honest—yes. Objective—no.

You've got to push yourself harder. You've got to start looking for pictures nobody else could take. You've got to take the tools you have and probe deeper.

I was a Valley girl; I hung out, and through a photographer friend. I met Peter Douglas, who was one of Kirk Douglas's kids. He introduced me to Sam Spiegel.

Actually, documentary pictures include every subject in the world - good, bad, indifferent. I have yet to see a fine photograph which is not a good document.

I did some artistic nudes when I was I 8 with a French-Canadian photographer while I was modeling. They were beautiful shots, and they were not about nudity.

As an avid photographer, I also took advantage of the latest technology in photography - digital photography - to post photos on my website on a daily basis.

Thoughtfulness begins with seeing. My job as a photographer is to make that seeing easier. What we appreciate, what fascinates us, we will strive to preserve.

When they asked me what I wanted to be I said I didn’t know. "Oh, sure you know," the photographer said. "She wants," said Jay Cee wittily, "to be everything.

We photographers say that we take a picture, and in a certain sense, that is true. We take something from people's lives, but in doing so we tell their story.

If I could find them (assemblages) in nature I would photograph them. I make them because through photography I have a knowledge of things that can't be found.

The picture is not made by the photographer, the picture is more good or less good in function of the relationship that you have with the people you photograph.

I really don't have any secrets. I've never met a photographer whose work I respected that had a secret because the secret lies within each and every one of us.

Photography is something you learn to love very quickly. I know that many, many things are going to ask me to have their pictures taken and I will take them all.

Think of an economy where people could be an artist or a photographer or a writer without worrying about keeping their day job in order to have health insurance.

I love storytelling, I love being a visual person, and it just made perfect sense to be an underwater photographer and explore the ocean and work with scientists.

I consider it essential that the photographer should do his own printing and enlarging. The final effect of the finished print depends so much on these operations.

I was the official wedding photographer at one of my best friends' weddings. Fortunately she was one of the most easygoing brides ever, so she made it easy for me.

I am always on the go; being a photographer, filmmaker, author and a father, things become stressful, and it is important to find time to escape for a few minutes.

If I didn't have my camera to remind me constantly, I am here to do this, I would eventually have slipped away, I think. I would have forgotten my reason to exist.

The language that photography has is a formal language. Any photographer is doing something formal. If it's formal, then it must be an aesthetic way to communicate.

I realized I didn't want to be a photographer. I gave it up, but I still worked that job in the restaurant and I found myself constantly hanging out in the kitchen.

My mom's an artist in every way. She's a painter, a photographer. She's a wanderer - always searching, always seeing. I guess you could say my mom gave me her eyes.

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