Quotes of All Topics . Occasions . Authors
Ours is a time of the machine, and ours is a need to know that the machine can be put to creative human effort. If not, the machine can destroy us.
Photographs are believed more than words; thus they can be used persuasively to show people who have never taken the trouble to look what is there.
I enjoy nothing more than spending time with my loved ones, young and old, and at least once a year we get together for a formal family photograph.
I didn't want to be a woman photographer. That would limit me. I wanted to be a photographer who was a woman, with all the world open to my camera.
I have boxes of pictures that nothing is ever going to happen to. Even Public Relations. I mean, I was going to events long before, and I still am.
I have never known anyone important enough to consume me in anger beyond a few hours. Better to depart their existence before they poison your own.
I never divide photographers into creative and uncreative, I just call them photographers. Who is creative? How do you know who is creative or not?
All these factors are only valuable if you're curious. But in any case, the more knowledge you have, the more things are open and available to you.
From the first moment I handled my lens with a tender ardour, and it has become to me as a living thing, with voice and memory and creative vigour.
I respect newspapers but the reality is that magazine "photojournalism" is finished. They want illustrations, Photoshopped pictures of movie stars.
I began to explore America in more general terms. I really started this work in 2009. I got the bulk of it done as I was easing out of Disco Night.
A good portrait is incredibly hard to create, there is too much temptation to pander to the individual rather than portray them as they really were
I have the feeling that there are things happening that are really very interesting things, if we can somehow find the key that makes them visible.
Everyone I'm photographing, I feel like I'm remaking a family, in a way. My brothers and sisters are my heroes. So many of my models resemble them.
My dad had been an ardent amateur photographer, and he taught me to compose a photograph from the back to the front, and then populate the picture.
To create a perfume you have to be the servant of the unconscious. Each idea evolves and transforms, but there should be a surprise with each note.
If you start embracing life's storms instead of hiding away from them, you'll stop fearing them all together; it is this way one becomes immovable.
There is so much more to the things that we think we know from afar. The close you get the more complex it is, not the simpler it is to understand.
In any art, you don't know in advance what you want to say - it's revealed to you as you say it. That's the difference between art and illustration.
I've always known if anything killed me, it would be boys. From the time I was a teenager into my thirties, I loved only the ones who were bad news.
I love having the photograph in my hand. I love looking at the photograph. I love looking at a box of photographs. I just love the still photograph.
I want to question the images that are in our memory. There is always a double level in my work; what you see is true and at the same time not true.
Great claims are being made for the photograph as truth. We are showing you things, we show you the war. I say you can't actually. The camera can't.
I love fashion and beauty and all those things, I still do but I think that it has changed the shift, that the greed is ruling the planet right now.
I work from awkwardness. By that I mean I don't like to arrange things. If I stand in front of something, instead of arranging it, I arrange myself.
To know ahead of time what you're looking for means you're then only photographing your own preconceptions, which is very limiting, and often false.
Rocks are like wreck magnets and ships run aground today in pretty much the same locations and for the same reasons they did thousands of years ago.
The camera is, in a sense, both a way to get close, and to break free. It is a testimony to independence as well as a new way to relate to the world
I love breakfast, so I'd probably spend a long time on that. And breakfast food matters so I'd make sure it is the best food - great fruit and such.
I am totally superficial, I know. But I believe superficiality can be very serious, a defense against the gravity of things, a manner of discretion.
My work is about the establishment of trust. For someone to share their authenticity with me is a soul-to-soul thing. It's not a lens-to-soul thing.
Part of the role of photography is to exaggerate, and that is an aspect that I have to puncture. I do that by showing the world as I really find it.
Filming is always a challenge because I'm not used to it. But I approach it head-on. I'm not technically brilliant, but it's the spirit that counts.
I respect newspapers, but the reality is that magazine 'photojournalism' is finished. They want illustrations, Photoshopped pictures of movie stars.
I tend to roll with the punches so if things don't go exactly as planned, I always perceive it as the universe making things the way they should be.
It is easy to make a picture of someone and call it a portrait. The difficulty lies in making a picture that makes the viewer care about a stranger.
Photography to me is an addiction. I get jittery after a couple of days without a camera. Everyone who knows me says I'm happiest when I'm shooting.
No one, though has to go to college to make or understand or enjoy art. Wonderful artists and critics - some of the best - have educated themselves.
We know that photographs inform people. We also know that photographs move people. The photograph that does both is the one we want to see and make.
It amazes me, how many words there are spoken, how many thoughts...yet each speaks freshly to me each time as if they were never once spoken before.
I believe it is one of our biggest tasks - the task of our life - to do everything possible to counter poverty and to build a freedom-loving future.
My way of living and working is that I'll do my thing. I went from one thing to another. That annoyed people. They didn't know how to categorize me.
I grew up in New York, in a rough neighborhood where our biggest concern was not getting beat up. I was always far from the center of the Big Apple.
I am interested not in individual readings, but in constructing networks of images and meanings capable of reflecting the complexity of the subject.
Books have this function that help me to understand the work I've done, to wrap it up. Once it's done, fortunately, it doesn't mean there's closure.
A woman artist could be one of those intuitive geniuses [who] have kept their childlike spirit and have added to it breadth of vision and experience.
To demand the portrait that will be a complete portrait of a person is as futile as to demand that a motion picture be condensed into a single still.
I have never been able to see myself as fitting into one category, and I have never been able to limit my contact with people to one group of people.
When I was younger, I'd buy a vinyl album, take it home and live with it, and I think that attachment's largely gone for the file-sharing generation.
The use of the camera has always been for me a tool of investigation, a reason to travel, to not mind my own business, and often to get into trouble.