Quotes of All Topics . Occasions . Authors
As long as designers want to dress me, photographers want to take my picture and companies think my face will help their products, then I won't go anywhere until they're done with me.
I had done a lot of rock 'n' roll photography when I was in college. I was one of many photographers who worked for The Doors, Jefferson Airplane, and all of these rock 'n' roll bands.
I like being out on the cricket field and performing and playing in front of a crowd. I find it quite tricky when there are press photographers outside my house. It's all very bizarre.
I love the process - collaborating with the photographers, traveling, and seeing different cultures. My mother always said I would regret it if I didn't do it. And I think she was right.
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.
These days, photographers have expensive contracts with actresses, but then the actresses have to have their names written in the column because nobody recognizes them. That's kind of strange.
When I work as an art director, I don't ask to see sketches from illustrators or photographers. I give them a basic idea, and then I say, 'Send it to me, it'll be fine' - I get out of the way.
My height can be a problem. A lot of directors and photographers are sometimes not happy because I'm pretty tall and especially if I work with short actors the difference can be pretty massive.
We photographers deal in things which are continually vanishing, and when they have vanished there is no contrivance on earth can make them come back again. We cannot develop and print a memory.
The photographers are always around. Wherever I go, they start clicking incessantly. I am always like, 'At least give me a heads-up, as, many times, I look so disheveled. What will people think?'
The Fox News that I know and work in is a team of producers, technicians, photographers, truck operators and production managers who barely have time to eat lunch, much less engage in bad behavior.
My job is very simply that of a photojournalist. I want to stop people's eye on the page, I want to move the viewer to laughter, to sadness, sometimes to wince - not to impress other photographers.
It's amazing to be able to work with people right at the top of whatever they do... inspiring photographers and stylists with very interesting visual language. The more I do it, the more I enjoy it.
I'm happy to help Crest Whitestrips on their mission to inspire photographers everywhere to capture smile moments and would encourage aspiring photographers to express themselves through their photos.
What amazes me is that you can have 10 different photographers in the same room, and you see 10 different rooms. You realize how much of it is the person's perspective rather than the situation itself.
I do find it strange, doing magazine shoots. Photographers always go, 'Why don't you like to have your picture taken? That's what you do for a living anyway. Just pretend you're acting. It's the same thing!'
I've learned to suck in my stomach when photographers are around. I used to read gossip magazines all the time, but I stopped when I started being written about in them and read incredible lies about myself.
France has always had a special place for Apple. This is the best place to discover and chat with all musicians, graphic designers, designers, or photographers who use our products. There is such creative energy.
These days, with 'American Idol' and all the other reality shows, young people become famous overnight, and that can be very difficult to handle, the way photographers follow you around and study your every move.
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.
Rex has photographers around the world - it's a higher touch business: there are a lot of relationships involved. If you throw an event, there are certain photographers you've worked with before and you want there.
I started shooting pictures because I had all these photographers around me, and life was kind of boring creatively because you play the same songs every night. So I looked for another outlet, and I started shooting.
I love it when I surprise photographers that, despite the fact that I am deaf, I am capable of meeting their vision. I love it that I can read their body language and know what they do not like and what they do like.
During the four years I had spent in New York, I had achieved top status as a model and had worked for the best photographers and designers in the world. I had grown used to hearing that I was exotic and high-fashion.
There have been so many photographers and editors who mentored me over the years. At the very beginning, the person who taught me the most was Arthur Elgort. I always loved working with him. We traveled a lot together.
I think the greatest photographers are the amateur photographers who do it because they love it. Arnold Newman is a good example; he is a consummate professional, but he's also an 'amateur' in the pure sense of the word.
What's really important is to simplify. The work of most photographers would be improved immensely if they could do one thing: get rid of the extraneous. If you strive for simplicity, you are more likely to reach the viewer.
I was looking at this picture of Brooke Shields at Studio 54 the other day. Everyone in the shot looks amazing because they have these black and white cameras with a flash. I think that's what photographers should go back to.
The photographers I worked alongside loved the news cycle and the hustle and getting that front page of the newspaper. But I wanted to be out in the field in conflict areas, documenting real life rather than political theater.
I began photographing in 1946. Before that, I was a painter and drawer, with my mother and father's support. They were a bit pissed when I went into photography. They thought photographers were guys who took pictures at weddings.
Even in the nineties, when it was mad and there were photographers all around the house, it never occurred to me to send someone else out to get cigarettes. It took me five minutes - went for a walk, gave a wave, went back inside.
In the 1930s, photographers such as Walker Evans and Dorothea Lange produced images of sharecroppers and Okies, which drew attention both to the conditions in which these unfortunates found themselves and to their heroic fortitude.
I have a lot of respect for these rock photographers. You realize that some of them were really led into the inner circles of some of these artists and bands. And you see how those photographs really capture the artist, the moment.
I came into my own, you might say, in terms of putting out my first record quite late in life. And yet there's some authors and photographers and even probably recording artists that didn't really hit their stride until their mid-50s.
I see all these professional photographers out at the racetrack, and there's all these people across the world, taking really cool pictures and you're like, 'Man, I want to create that!' I had that mindset when I first grabbed a camera.
When I was in high school in Paris, some photographers wanted my photos and asked if I was interested in modeling. I wasn't interested because I wanted to get my education first. I was scared because I didn't know what I was getting into.
I admired the work of photographers like Beaton, Penn, and Avedon as much as I respected the grittier photographers such as Robert Frank. But in the same way that I had to find my own way of reportage, I had to find my own form of glamour.
Rumors sound of galleries asking artists for upsized art and more of it. I've heard of photographers asked to print larger to increase the wall power and salability of their work. Everything winds up set to maximum in order to feed the beast.
I've seen so many photographers rush to do books the minute they start shooting, but one great thing about photography is that the images don't go away, so the more I sit with these images, the more I learn which ones have had the most impact.
The 'America at Home' project was aimed at being the most extensive record of American home life ever attempted, and we were amazed at how many people were willing to participate as photographers or to welcome the photographers into their homes.
I think a lot of times, especially for certain stories, photographers travel together for safety reasons, and they also invariably cross paths. But you could have 10 photographers shooting together in the same spot but capturing different images.
People of my generation who became photographers in the late fifties, early sixties, there were no rewards in photography. There were no museum shows. Maybe MOMA would show something, or Chicago. There were no galleries. Nobody bought photographs.
Ever since the 1860s when photographers travelled the American West and brought photographs of scenic wonders back to the people on the East Coast of America we have had a North American tradition of landscape photography used for the environment.
Stock photos are used everywhere on the Net. Chances are, the website you are on right now uses stock photos somewhere - maybe as the featured image of the blog post. This also means that there will always be a large market for stock photographers.
Bikers, in general, have just been so attractive to people. Photographers would follow them because there's this weird warrior gravitas that comes with it. The bikes are loud, they have tattoos, they have artwork that they all wear on their jackets.
Unfortunately, the greatest photographers don't pay extreme attention to the clothes. If they decide to put a dress in a bathtub or in front of a cow in the countryside with dirt everywhere, well, the dresses come back... ready to be put in the garbage.
I have mixed feelings about those sorts of things. When I see it done by interesting young people, I think it's very valid. But when established photographers, people in their forties, copy me and get a lot of money, well, I find that to be very stupid.
People think that it is important to learn by assisting the great photographers. I say that is a big mistake. Be happy; just learn from any little guy. Learn how to use the camera - you don't need anything else. You can't be taught the real skill anyway.
The still image continues to have a ton of strength. An image taken out of context from one fraction of a second to the next can tell a story, and if photographers are looking to tell a certain story, they can curate those slices of time to their advantage.
Smiles come naturally to me, but I started thinking of them as an art form at my command. I studied all the time. I looked at magazines, I'd practice in front of the mirror and I'd ask photographers about the best angles. I can now pull out a smile at will.