Quotes of All Topics . Occasions . Authors
One of the biggest mistakes a photographer can make is to look at the real world and cling to the vain hope that next time his film will somehow bear a closer resemblance to it.
I have a really hard time stepping out of a limousine and confronting a sh*tload of photographers who are all screaming at you, because it's like saying, 'yeah, yeah, here I am!'
When a photographer chooses a subject, he or she is making a claim on the interest and attention of future viewers, a prediction about what will be thought to have been important.
For me, the world is a stage, and we are all playing the character we have chosen to play on that stage. It is the job of the photographer to capture the drama of the performance.
It should be the aim of every photographer to make a single exposure that shows everything about the subject. I have been told that my portrait of Churchill is an example of this.
We at Interscope put projects out with anyone we believe has a great idea and is a true talent, whether it's a musician, photographer, software developer, or technology innovator.
Photographers don't need to be aggressive. Some are. Henry Benson is aggressive - but then he's from Fleet Street. If you can talk to people, you don't need to push people around.
I admire photographers that don't need a destination. In some ways, street photography is like that. There's a quality of wanderlust for sure in my work, but I need a destination.
As a photographer, God's light in Southern California is something unlike I've ever seen on planet Earth. There's a beauty about it, especially in the afternoon that is so pretty.
Usually, your personality doesn't come out on the cover of Vogue. If the photographer says, "Smile," you smile. You might not be in a good mood that day, but you're smiling anyway.
And only the photographer himself knows the effect he wants. He should know by instinct, grounded in experience, what subjects are enhanced by hard or soft, light or dark treatment.
The first things I did was I was a writer, painter, and photographer, and we grew up very poor, so even though I could get into any college I wanted, there was no way to pay for it.
I continue to be a photographer; I have enjoyed fishing and hunting with a close friend; and have owned two ranches, first in northern California and then in the state of Washington.
I posed as an album-cover designer and photographer... That I today have some album covers and photographs to show for myself is a monument to the attention-to-detail of my disguise.
On my YouTube channel, I put up 3-4 videos a week, and I spend a lot of money to maintain that content. When I travel, I travel with a videographer and a photographer no matter what.
I'm not a nice girl; I'm a photographer. (On being told by a Federal Art Project official, after she photographed the Bowery, that a nice girl should not go into such neighborhoods )
For a short time I was an assistant to a professional photographer, and I felt that my soul was not there. That is the stage when I decided to stay in London and do a graduate degree.
Woman has been the target of much that is sordid and cheap, especially in photography. To raise, to elevate, to endorse with timeless reverence the image of woman, has been my mission.
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.
In high school, my mom's friend was a location scout, and there was a shoot at our house. I came home from school, and the photographer said, 'You should call my friend at this agency.'
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.
As a model you have to convey something with one look - and actors will have a scene and they can sort of do it, but models have to convey what photographers want. It's a bit of an art.
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 always feel safe with a woman photographer. I feel that no matter how they interpret something, they understand all sides of it because they are women, and women are complex creatures.
I've jokingly painted some of my favorite collectors as black men, so there's a really great portrait of David LaChapelle, the photographer - my version of him - that's in his collection.
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.
I am afraid that there are more people than I can imagine who can go no further than appreciating a picture that is a rectangle with an object in the middle of it, which they can identify.
If I ever feel like, 'Oh, my life!' or get upset by silly things like a photographer, or if someone has written something nasty that's upset me, I just think, 'Worse things happen at sea.'
For me the printing process is part of the magic of photography. It's that magic that can be exciting, disappointing, rewarding and frustrating all in the same few moments in the darkroom.
As a journalist and longtime photographer, I love Instagram and the connection it gives me to my friends and family as I journey afar or for me to view their lives from my perch back home.
I never thought of being a performer, never thought of being a singer, never thought of being a photographer. It's just the trajectory of my work. I go to the medium that serves the vision.
I came up, I suppose, a fairly traditional way. I went to art college. I always wanted to be a stills photographer, really, when I was younger, and I briefly worked as a stills photographer.
Now very often events are set up for photographers... The weddings are orchestrated about the photographers taking the picture, because if it hasn't been photographed it doesn't really exist.
If you're a photographer, you end up being the raw creative force that allows other people to see what kind of narrative you want to be giving or what kind of art that you want people to see.
One impulse of photography, as immediate as its impulse to extend the visible, is to theatricalize its subjects. The photographer's command, Watch the birdie! is essentially a stage direction.
It is not art in the professionalized sense about which I care, but that which is created sacredly, as a result of a deep inner experience, with all of oneself, and that becomes 'art' in time.
A number of years ago, I found a book of photography by Weegee; he was a crime photographer in the 1930s in New York. He was the first person to put a police scanner in a car and drive around.
What a photograph shows us is how a particular thing could be seen, or could be made to look - at a specific moment, in a specific context, by a specific photographer employing specific tools.
When we do not know why the photographer has taken a picture and when we do not know why we are looking at it, all of a sudden we discover something that we start seeing. I like this confusion.
What we must demand from the photographer is the ability to put such a caption beneath his picture as will rescue it from the ravages of modishness and confer upon it a revolutionary use value.
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 can't express enough to anyone who is fighting for whatever their dream is, whether it's to become a doctor, or a teacher, or a photographer - it doesn't matter - it's such a hard, hard road.
These elites, preferring to work in private, are rarely found posed for photographers, and their influence upon events has therefore to be deduced from what is known of the agencies they employ.
Edward Curtis was a photographer in the late 19th century who tried to document the rapidly disappearing Native Americans. He assembled a canon of work which, today, is exemplary and invaluable.
Magnum photographers were meant to go out as a crusade ... to places like famine and war and ... I went out and went round the corner to the local supermarket because this to me is the front line.
I wanted to be Brooke Shields, and my mother was an aspiring photographer, so I was, of course, the only one who would sit still long enough for her to get things in focus, and I loved doing that.
...a photographer must be aware of and concerned about the words that accompany a picture. These words should be considered as carefully as the lighting, exposure and composition of the photograph.
I think of many of my photographs as being obviously symbolic but not symbolically obvious. There isn't any specific correlation between the symbols in this image and any content that I have in mind.
It's unarguable to say that every one of us has been moved by the beauty of what I have called snapshots, but for photographers they are charms and proverbs, and like lightening or wild strawberries.
I don't want to do panel games or adverts. I really like challenges. I always get roles as an art teacher or a photographer. In the future I want to play something like a mugger/assassin/pastry chef.