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I never went to school for photography and started when I was pretty young. I was somewhere around 12 or 13. I started photographing as a hobby and carried that hobby through high school and university.
For seven years, I made films in the cinema verite tradition - photographing what was happening without manipulating it. Then I realised I wanted to make things happen for myself, through feature films.
Over the years, I have perfected the art of dancing and photographing at the same time: it's a great double act. If you're dancing, you are joining in. If you stand there rigid, you are not in the flow of things.
My strength is looking for composition and light, and I think those things come in the quieter times of war or photographing people affected on the margins of war - civilians, refugees; that is where I really excel.
I did 'Vice' with Christian Bale and 'Foxcatcher' with Steve Carell - both of those films had significant prosthetic work. You do need to be cognizant of the fact that the material that you're photographing is not skin.
I'm not photographing the model in the classic sense; the model is playing a part in my photographs. It's more like theater. I always work with models I know, and I let them participate in deciding how to act their part.
I love meeting 'the Odd Man Out' - like fans of 'Baywatch' who regret, as I do, that Tower 12 Productions didn't put nearly as much energy into writing and directing the show as they put into photographing and editing it.
I've always been fascinated by twins. In my forty years of photographing, whenever there was an opportunity, I would take a picture of twins. I found the notion that two people could appear to look exactly alike very compelling.
I'm Jewish and respect the traditions of Judaism, but through all the time I've spent photographing nature, I also have a deep appreciation for the power of the universe. No, not the power of the universe, but just celebrating life.
I started writing and photographing for different publications and finally ended up being the correspondent in South Asia, for the Geneva-based Journal de Geneve, which at one time used to be one of the best international newspapers in Europe.
The Bahamas has mangrove nurseries, coral reefs, shallow sea grass beds, and deep oceanic trenches - all perfect ecosystems for sharks. Photographing multiple shark species in exquisite water was the assignment I had dreamed about from the start.
I was making stickers for guys' bands. I was in the front row photographing bands, booking bands, doing all of the kind of backstage stuff, and I didn't even think for a second I could do it, and then I saw Babes in Toyland, and all that changed.
I told myself, 'When I grow up, I want to make pictures that can inspire and nourish people.' Immediately, when I was 10, I started photographing nature. I built a darkroom. My first really good darkroom, not just down in the cellar, was when I was 14.
Photography of any living being, according to Taliban rule, was illegal. So when I went to Afghanistan, immediately I was worried about photographing people. But it was what I wanted: to show what life was like under the Taliban, specifically for women.
I could spend my whole life photographing circuses. They combine everything I'm interested in - they're ironic, poetic, and corny at the same time. There's also something about a circus that's magical, sentimental, and almost tragic, like a Fellini film.
I've seen my own blood and broken a few bones. I've been hit, which isn't an entirely bad thing, as at least you have a glimpse of the suffering endured by the people you are photographing. And in a sense, crumbling empires and war have been with me all my life.
Born Berlin 1931, Germany, father a British diplomat, mother an American artist. Educated at various schools all over the world. 1958 Settled down to live in London. 1966 Became interested in photography through photographing my young children. No formal training.
When I'm photographing, I think - like any rescue worker who deals with tragedy - you have to have some protective barrier around your heart so you can do your job. You tend to have a delayed reaction to things. I feel things more deeply after I put the camera down.
When you're working on a film, it's almost like photographing paintings at a museum. You're photographing somebody else's world. I just try and interpret it and make it real, and make it what the actors are about, what the director is about, and what the film is about.
These landscapes aren't breaking news or necessarily even illegal. These are intentional, purposeful landscapes, whether to extend our cities or build a mine or put a road in or clear a forest. I've been photographing that which has been intended by us; it's not an accident.
The interviews have gotten much longer with 'Humans of New York.' When I was first starting, I was just photographing people. And then I went to just kind of including a quote or two. Now when I'm approaching somebody on the street, I'm spending about 30 to 45 minutes with them often.
I remember the first time I went out on the street to shoot pictures. I was in downtown Philadelphia, and I just took a walk and started making contact with people and photographing them, and I thought, 'I love this. This is what I want to do forever.' There was never another question.
As a kid, I used to dream about airplanes before I ever flew in one. I really knew, when I started photographing, I wanted it to be a way of knowing different cultures, not just in other countries but in this country, too, and I knew I wanted to enter other lives. I knew I wanted to be a voyeur.
At some point during my travels, I had a slight change of focus which would end up defining the rest of my career. I began taking pictures of people. In addition to all the buildings, street signs and fire hydrants, I started photographing some of the interesting humans that passed by me on the street.
It was only after a while, after photographing mines and clear-cutting of forests in Maine, that I realized I was looking at the components of photography itself. Photography uses paper made from trees, water, metals, and chemistry. In a way, I was looking at all these things that feed into photography.
I've played in bands myself, and sat on the floor photographing some of the greatest bands in the world while they rehearse. What's always struck me is how different the sensory, especially auditory, experience is when you're in the middle of the music with the musicians playing off each other around you.
When you first start photographing a show or being into photography, you might think it's cool to see people with their phones, like, 'It's so novel; everyone cares about this moment so much,' but then it becomes... trite, y'know, and shallow. I think the best moments of my life have been spent without phones.
When I was studying photography, I became interested in conflict photojournalism, and that got me interested in lighting. Then I realized there was this amazing thing called cinematography where you could kind of tell more complete stories photographing for film. So I ended up going to AFI grad school for that.
I've always been interested in photographing traditions and customs - especially in America. The prom is an American tradition, a rite of passage that has always been one of the most important rituals of American youth. It is a day in our lives that we never forget - a day full of hopes and dreams for our future.
One of the lessons learned during the Vietnam War was that the depiction of wounded soldiers, of coffins stacked higher than their living guards, had a negative effect on the viewing public. The military in Iraq specifically banned the photographing of wounded soldiers and coffins, thus sanitizing this terrible and bloody conflict.
I had done some work when I was starting in with photography on westerns, and photographing them was the greatest pleasure I had. If I was ever qualified for anything, it would have had to do with making westerns. But as I started working on pictures with people like Katharine Hepburn, I got further away from the thing I really liked to do.