Quotes of All Topics . Occasions . Authors
It is curious that I always want to group things, a series of sonnets, a series of photographs; whatever rationalizations appear, they originate in urges that are rarely satisfied with single images.
It is a peculiar part of the good photographer's adventure to know where luck is most likely to lie in the stream, to hook it, and to bring it in without unfair play and without too much subduing it.
At 99 and after a long stay in a nursing home, the death of legendary photographer Eve Arnold was hardly a surprise - though she may have been just a little annoyed to quit a few months short of 100.
[Photography] underlines the photographer. That's the Barthesian this has been. Well, this has been for the photographer as well. The photographer is the hidden placeholder in the Barthesian equation.
What is right? Simply put, it is any assignment in which the photographer has a significant spiritual stake... spiritually driven work constitutes the core of a photographer's contribution to culture.
Some photographers take reality... and impose the domination of their own thought and spirit. Others come before reality more tenderly and a photograph to them is an instrument of love and revelation.
I understood that synergistic dance between photographer and object - 'muse,' if you will, 'model,' whatever you call us. It's that silent language of communication, like being psychic with each other.
My closest friends are Roger Moore, who is an actor, Sean Connery, who is an actor, Terry O'Neill, who is a photographer, Johnny Gold, who was the boss of Tramp, and Leslie Bricusse, who is a composer.
It is not sociologists who provide insights but photographers of our sort who are observers at the very center of their times. I have always felt strongly that this was the photographer's true vocation.
For me, it's easier to like more things than to dislike them; I'm not a critic in that sense. I find it easier to like more, to be more open and enjoy more things, which has given me more opportunities.
All I know is for a number of years, if someone like me called police for a burglary, a mugging, or something happened to me, chances are that a photographer or reporter would turn up before a policeman.
There was a time when one looked over one's shoulder with an ironical smile at the photographer and when photography as a profession seemed almost invariably a target for ridicule. That time is now over.
I dream that someday the step between my mind and my finger will no longer be needed. And that simply by blinking my eyes, I shall make pictures. Then, I think, I shall really have become a photographer.
To me, that is the essence of me as a photographer. It is those ideas, working with them, formulating them and eventually putting them down on paper, photographing them and then going on to the next step.
[Postmodern photography] implies the exhaustion of the image universe: it suggests that a photographer can find more than enough images already existing in the world without the bother of making new ones.
Photographers have to impose order, bring structure to what they photograph. It is inevitable. A photograph without structure is like a sentence without grammar-it is incomprehensible, even inconceivable.
If it doesn’t have ambiguity, don’t bother to take it. I love that, that aspect of photography - the mendacity of photography. It’s got to have some kind of peculiarity in it, or it’s not interesting to me.
There are a lot of photographers who have influenced me; some of the great ones, like Herb Ritts, Helmut Newton, and [Alfred] Stieglitz. I draw from all of them. You're supposed to steal from the good ones.
I read like a crazy person, I play the piano, and I'm a photographer. I always say my photography keeps me sane. I spend a lot of time in the darkroom. It's a very solitary, quiet life when I'm not working.
I always wanted to be a photographer. While I was at school, I got a lab-monkey holiday job in the darkrooms at the 'Independent.' What they taught me there was: you need to get the whole story in one frame.
It is the gift of seeing the life around them clearly and vividly, as something that is exciting in its own right. It is an innate gift, varying in intensity with the individual's temperament and environment.
Color really doesn't have interaction if it's full of colors. It's the interaction or relationship among or between colors that makes a color image. This usually happens with a few colors, not a glut of them.
Whatever it takes to get the image to reach that level is what that photographer needs to do. And for me, I just have such a love of the tactile and sensuous quality of a black and white silver gelatin print.
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.
My skin's not a normal sight. When a photographer says, 'I don't know what it is, but that's just not it...' I know. They like the different colours of my skin. They're not getting them with a particular outfit.
The good photographer will produce a competent picture every time whatever his subject. But only when his subject makes and immediate and direct appeal to his own interests will he produce a work of distinction.
Her mother, Laurie Simmons, is a contemporary artist, and my stepmother, Cindy Sherman, is a photographer, so they've known each other forever. Lena and I were often at the same dinner parties when we were kids.
I went on tour with the Rolling Stones in 1972 for two or three cities. And in 1975, I was the tour photographer for the Rolling Stones. I hung onto my camera for dear life. Because it scared the hell out of me.
Look, Matisse I ain't. You know how they have on the invitations, a reception for the artist will be held at... And I say, Look, you gotta change this. I'm not an artist. I'm a photographer, a skilled craftsman.
The most important thing you learn as a sports photographer is anticipation - not where the action is taking place, but where it’s going to take place. Not where the subject is now, but where they’re going to be.
I was in middle school at a bat mitzvah, and a fashion photographer, Suzy Gorman, came up to me and asked me if I considered being a model. I did a shoot with her, and than I signed with an agency in Saint Louis.
I'm a very, very basic photographer. The main strength of my pictures, I guess, is the mood and feel I get out of the people that I meet. But technically I don't think I'm very advanced. That never interested me.
The most important thing you learn as a sports photographer is anticipation - not where the action is taking place, but where it's going to take place. Not where the subject is now, but where they're going to be.
I have often photographed when I am not in tune with nature but the photographs look as if I had been. So I conclude that something in nature says, 'Come and take my photograph.' So I do, regardless of how I feel.
I was born in the Bay Area because my dad was a semi-professional photographer and poet who was really into John Coltrane. He's had many lives. My dad's a capitalist to his bone, but he's also a human to his bone.
Most photographers would feel a certain embarrassment in admitting publicly that they carried within them a sense of wonder, yet without it they would not produce the work they do, whatever their particular field.
I can work with shyness, but for the most part I want people to feel comfortable with me. It's really more about the photographer feeing comfortable right when they walk in that makes the subject feel comfortable.
Let us not be afraid to allow for post-visualization. By post-visualization I refer to the willingness on the part of the photographer to revisualize the final image at any point in the entire photographic process.
I work rather blindly. I have a theory that seems to work with me that some of the best things you ever do sort of come through you. You don't know where you get the impetus and response to what's before your eyes.
I'm a big fan of 'National Geographic', the magazine and the channel. Anything to do with the natural world. For years, when I was younger, I was convinced I would be a nature photographer, but that didn't pan out.
I like a shoot when I feel strong and sexy, a little hard, with a darker edge. That's what I do best. I like giving a photographer what they want, working with the art director. And modeling is all I've ever known.
When you put an individual on the cover of a big picture magazine, like 'Life of Look', their career skyrocketed. As a photographer, you were very empowered; people came to you, bowing to you and what you represented.
You do your work as a photographer and everything becomes past. Words are more like thoughts; the photographer's picture is always surrounded by a kind of romantic glamor - no matter what you do, and how you twist it.
When you're in a relationship with a photographer, and they start abusing that relationship and being like, 'I want you to do this, and I want you to do that,' it makes you go, 'No.' I didn't want to work all the time.
Truth for anyone is a very complex thing. For a writer, what you leave out says as much as those things you include. What lies beyond the margin of the text? The photographer frames the shot; writers frame their world.
What attracts the photographer is precisely the chance to penetrate inside phenomena, to uncover forms... He pursues them into their last refuges and surprises them at their most positive, their most material and true.
I agree that all good photographs are documents, but I also know that all documents are certainly not good photographs. Furthermore, a good photographer does not merely document, he probes the subject, he 'uncovers' it.
My idea was that if I took a picture of somebody and years later, or whenever, they would die and if someone wanted to know who this person was, they could take one of these pictures and it would tell who the person was.
I remembered seeing it and it was this metallic turbine and I thought it was beautiful. I had never been in a power plant before, but I felt, without being overly dramatic, compelled to make photographs of this for myself.
The photographer, even in fashion and portraiture, has to have a standpoint. It's important to know what you stand for, no? Most people just take pictures, but they stand for nothing. They follow trends and don't know why.