Quotes of All Topics . Occasions . Authors
I was spoiled growing up in the 1970s because magazines were publishing the photographs of Helmut Newton and Guy Bourdin without compromise. You really felt that sense of freedom through their images.
Through books and photographs, I saw a world that was not my own - and I realized that there was another world. That's why I'm concerned about education, because it helps our children see other worlds.
I like to see photographs: I like to see my family. To me, when I open a basic browser, and it's that very elegant silver simple user interface, I am unhappy. I don't need elegant and silver and simple!
Take a random selection of photographs of America in 2012 and 2002 and 1992 and, except for the skinny jeans and the porkpie hats, you'll be hard-pressed to tell the years in which the pictures were taken.
There are particular images that I like. Allegro is composed of a series of still life photographs that has been put to speed. There is so much care that has gone into the composition of the cinematography.
I think of myself as a writer who photographs. Images, for me, can be considered poems, short stories or essays. And I've always thought the best place for my photographs was inside books of my own creation.
Born in Kansas City, Missouri, and knowing nothing about Picasso, I had the audacity to knock on his door, became his friend, and took thousands of photographs, of him, his studios, his life and his friends.
From taking photographs of George and Charlotte, I have been struck by the wonderful lack of self-consciousness that you see in photographs of children, without the self-awareness that adults generally feel.
I would love to direct a western. I love taking photographs and I'm always fascinated with angles. Also, my father was a film editor, and I have a talent for thinking of things that aren't always in a script.
I love sharing photographs and websites, I'm for all of these things. I'm for Facebook. But to say that this is sociability? We begin to define things in terms of what technology enables and technology allows.
I happen to take photographs, and they happen to be used for a lot of things, but they're not really made to order. They're paid for, but they're not made for order. I've never really done real commercial work.
I'm always worried about the sitter - are they cold, are they hot, are they comfortable? Photography today is so accurate and so good that it's really so much easier just to take photographs and work from them.
In 3-D filmmaking, I can take images and manipulate them infinitely, as opposed to taking still photographs and laying them one after the other. I move things in all directions. It's such a liberating experience.
Many of the critics today get airline tickets, hotel accommodation, bags, beautiful photographs, gifts and other expenses paid by the distributors, and then are supposed to write serious articles about the movie.
The Heart Gallery premise is very simple. It is a special traveling exhibit of photographs featuring Los Angeles foster youth, designed to highlight the need to find loving adoptive families for waiting children.
Snapchat really has to do with the way photographs have changed. Historically, photos have always been used to save really important memories: major life moments. But today... pictures are being used for talking.
When I am preparing my 'lookalike' photographs, I think about the character of the real people, because, if the photographs are going to be plausible, you have to convince the viewer that they could have happened.
Tell a story with your eyes when you face the camera - it makes all the difference. My best tip for making skin look good in photographs is to go easy on the make-up. You don't want it to look heavy and mask-like.
I used to have a lovely wallet with lots of different compartments where I kept photographs of my grandmother, grandfather and friends. It was stolen one night when I was out in Edinburgh, and I never got it back.
I had seen the photographs of Harlem in its glory days, stylish men in bespoke suits, women so well dressed that they'd put the models in 'Vogue' to shame. I knew that Harlemites loved to dance, to pray, and to eat.
We're all amateur investigators. We scan bookshelves, we ogle trinkets left out in the open, we calculate the cost of furniture and study the photographs on display; sometimes we even check out the medicine cabinet.
For my 50th birthday, my cousin Helmut gave me the most profound, beautiful, and striking present. He made books out of my dad's slide photographs, which were stored and forgotten. Looking at those books made me cry.
I find mirrors detestable; I dislike seeing myself. Of course, there's a mirror in the bathroom, but it's a magnifying one for shaving. Photographs are fine, but I don't like mirrors because they take you by surprise.
The photographs of Iraqi prisoners being subjected to degrading and humiliating treatment by their captors, and the reports of acts of sexual abuse, physical abuse, and other acts of maltreatment shock the conscience.
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.
Everything rational and sensible abandons me when I try to throw out photographs. Time and time again, I hold one over a wastebasket, and then find it impossible to release my fingers and let the picture drop and disappear.
My family didn't film anything. But then you look deeper and realize, maybe there are photographs, there are things. It's also context: You give something a context, and suddenly it becomes really deep or meaningful footage.
Some time ago, we went to Asia and took a camera along, and I began to do what I'd done even years ago doing people. I couldn't get interested in it. And I did hundreds of photographs of details of the monuments as sculpture.
Archaeologists gave the military the idea to use aerial photographs for spying and field survey. We are fortunate that the spatial and spectral resolutions of the imagery available to us are so broadly useful for archaeology.
Many people keep photos in their homes, in their office, or in their wallet, and happy families tend to display large numbers of photos at home. In 'Happier at Home,' I write about my 'shrine to my family' made of photographs.
I've spent a lot of time in India. When I was a young cinematographer, I was completely enthralled by the color, the movement, the sounds. But photographically, it was very hard to capture it; photographs rarely did it justice.
I have a rule that I don't review shows from photographs or from video. I certainly might go back and look at photographs and look at video to remind myself of something or for personal information. But I never review from that.
Most campaigns rely on photographs because the moment you do something that is a graphic interpretation where any artistic license has been taken, I think a lot of people are scared that it's going to be perceived as propaganda.
I've got loads of photographs of me at home with two orbs that visit me. The two that I have are about the size of melons. One sits on my arm and the other is usually in the back of the shot, sitting just over my right shoulder.
I'm exchanging molecules every 30 days with the natural world and in a spiritual sense I know I am a part of it and take my photographs from that emotional feeling within me, rather than from an emotional distance as a spectator.
I always see my songs in colors, and I'm often more inspired by movies and photographs than I am by other songs when I write my music. I'm also inspired by fashion, and I want my music to be a visual painting of what's in my mind.
My father Bill had a problem with Christmas. Although he appears in old photographs to possess a whippy, muscular frame, he was actually a frail man and usually managed to cause some kind of drama just before the festivities began.
What sets 'Miss Peregrine's Home for Peculiar Children' apart is Riggs's use of 'found' photographs as a spark of inspiration for the narrative. 'Found' describes art created from common objects that are not normally considered art.
In this first testing ground of the atomic bomb I have seen the most terrible and frightening desolation in four years of war. It makes a blitzed Pacific island seem like an Eden. The damage is far greater than photographs can show.
I would imagine that if you had a media brand that is solely focused on publishing 5,000-word stories with beautiful proprietary photographs and highly-produced videos, it would be a tough thing to make that economically sustainable.
I had always been kind of obsessed with making a home of my own and was always drawing rooms that I wanted to live in, down to pictures on the wall and the faces that would be in the photographs, and how the couches would be situated.
For me, I'm very visually inspired. I'm more inspired by photographs and movies than I am by listening to other music, so for me to create an amazingly intense visual live show is a dream, so I would love to be on that level for sure.
I knew from the first moment I picked up a camera, on my first school assignment, what I wanted to do for the rest of my life. I was going to find a way to travel the world and tell the stories of the people I met through photographs.
It is proper to take photographs or other kinds of pictures of persons to put them before us for sight or remembrance. But it is improper to make pictures and images of God and to take his likenesses therefrom to his great distortion.
The planets are never the same twice, they're always different, so they could compare the markings I had drawn with their current photographs and they knew that I was drawing what I was really seeing and it wasn't copied from somewhere.
I have a big box of autographs. I took photographs of me and Marlene Dietrich, me and Ida Lupino. I took pictures of Myrna Loy and Joel McCrea in front of the studios. I loved Hollywood. I have 500 autographs and 500 photographs I took.
The digital camera takes photographs in practically no light: it will dig out the least bit of light available. I was amazed to see the results of photographs that I wouldn't take ordinarily. That's the advantage of digital photography.
When I started working in fashion, I didn't have money to buy photographs, so I'd Xerox pictures from magazines and put them in notebooks. When I'd start a collection, I'd sit with my old notebooks and look through them for inspiration.
It is, alas, chiefly the evil emotions that are able to leave their photographs on surrounding scenes and objects and whoever heard of a place haunted by a noble deed, or of beautiful and lovely ghosts revisiting the glimpses of the moon?
When I was out in Georgia doing photographs, I found myself trying to undo my own sense of composition. I'd think, 'Why do I want to take it like this? Is it because I want to take a beautiful picture?' It's quite hard to try and undo it.