Quotes of All Topics . Occasions . Authors
I like friendship.
I like Ryan McGinley's work.
Family is a major part of my life.
I think my moral ground is very much intact.
I think the range of my life shows in my work.
What's the point of shorts if they're not short?
I take it very seriously, the photographic craft.
I like the luxurious, dressing-up aspect of fashion.
I find it quite fascinating to see how the body works.
Everything I choose to photograph, I think is beautiful.
It's important to be involved in different things for me.
I never really think of anyone as models, even the models.
I'm not interested in running around from one shoot to another.
Nudity is no big deal as a German. It's all rather normal and boring.
I go, wherever there is my interest, where my heart and feeling take me.
I see through my eyes; the camera is just a machine to record it for me.
When I came to London in 1986, I was amazed at how prudish everyone was.
I don't understand longer shorts. I don't think they look good on anyone.
My childhood was very beautiful in some ways and very disturbing in others.
I had no visual imagination as a child. I liked playing football. That was it.
I don't try to be original; I just always want to do something that excites me.
I like physical exercise. I cycle, run, and play tennis and football with my son.
I cycle whenever possible around London. But I travel first class when I need to fly.
I have a Mercedes. I wear a Rolex watch. I have no problem with the selling of things.
Quite frankly, if I didn't enjoy the fashion industry, then I wouldn't continue to do it.
I like the idea that things can exist in different formats - in a gallery, a fashion ad, in books.
I often photograph something as if the subject matter was realistic, but it is actually a fantasy.
For me, cinema is very important. I grew up with television; then, as a teenager, you discover cinema.
I am someone who takes pleasure in exploring the full scale of the medium photography. I am a photographer.
My father and one of my grandfathers died very early, and female figures have been an influential part of my life.
I think it's really important to not be afraid of failure and to push yourself to try things and jump in the cold water.
I would never ask somebody to do something where I felt that it's not right or it puts someone in an uncomfortable position.
Most fashion photography is done by gay people finding women sexy - which is sort of not sexy at all, at least to a heterosexual man.
When you're a kid, what you learn in school about being German has a sort of heaviness about it, and you have a sort of guilt with you.
I like people with conviction, who are in control of themselves. I'm not interested in working with a designer who hires a creative director.
When I became a father, all that stuff rose up again from the back of my mind. I suddenly realised how uninvolved my father had been in my life.
I couldn't identify with the images in 'Elle' or 'Vogue' or 'Harper's Bazaar.' Nobody in the world we're walking around in actually looks like that.
In Germany, the body is treated rather differently than in the U.K. or U.S. I grew up with a swimming pool in our garden and a sauna in our basement.
I've never really understood tattoos. I mean, it's your body - why would you wanna scar it? I don't mind other people's tattoos, but I just never got it.
I don't care what other people think. I hate conforming, that you have to wear this to a business meeting or that to a dinner. I've never worked that way.
Normally, whenever I try to photograph my mother, she is extremely impatient and will only stand for a minute and insists on knowing exactly what I'm doing.
I have a way of opening up people and gaining their trust. I think they can see my vulnerability because I'm unafraid to admit if something doesn't quite work.
One day, I'll be photographing Kate Moss in Paris, then I'll be on Stephanie Seymour's ranch with her hundred horses wondering what exactly it is I'm doing there.
A few brands have asked me to design shorts for them. I'm not sure about that. I don't want to have them as a mass product, and suddenly everybody is walking around in them.
I always work with two cameras. Its kind of like I'm hypnotizing the subject with the flashing. It's a bombardment of action, flashes, and I think it helps them to ease into the process.
I'm often in Venice in November and December, when it's foggy and wintry, and the decorations in the shops and the lights in the churches make the place feel both Christmassy and melancholic.
In Bavaria, many homes have a cosy room which is all wood and is filled with special things. My grandfather had such a room, and he made the panels on the walls himself; each one told a story.
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 try and photograph people as they are. I do not want to hide anything. I want to bring across a personality, a humanity. It is not a case of model A or model B against a white background. I am interested in the person.
I'm interested in the person I photograph. The world is so beautiful as it is; there's so much going on, which is sort of interesting. It's just so crazy, so why do I have to put some retouching on it? It's just pointless to me.