Quotes of All Topics . Occasions . Authors
I don't know what the instinct is, to save every report card, every half-sentence scribbled note, but my mother did it pretty effectively, and I've done it to a fare-thee-well.
It's usually so fraught when you're taking a picture. I work with an 8-by-10 view camera and there's a, you know, hood that I put over my head, and it's tricky and complicated.
Documentary: That’s a sophisticated and misleading word. And not really clear… The term should be documentary style… You see, a document has use, whereas art is really useless.
Today, we must realize that nature is revealed in the simplest meadow, wood lot, marsh, stream, or tidepool, as well as in the remote grandeur of our parks and wilderness areas.
...one sees differently with color photography than black-and-white... in short, visualization must be modified by the specific nature of the equipment and materials being used.
The lens freezes time and space in what may be an optical slavery or, contrarily, the crystallization of meaning. The limits of the lens' vision are esthetically often a virtue.
I do my work. My work is my statement. Generally, I think, there is too much interest in what an artist has to say. Or what she or he looks like, instead of what she or he does.
I am fine, though it is hard to think of what kind of work to make at this point, other than decorative, escapist or abstract. I suppose I'll explore one or all of these things.
We have extracted from the land from the moment we stood on two feet. We are working to supply the kinds of materials that are necessary for the lives we've built for ourselves.
One of the biggest mistakes a photographer can make is to look at the real world and cling to the vain hope that next time his film will somehow bear a closer resemblance to it.
You have a lifetime to learn technique. But I can teach you what is more important than technique, how to see; learn that and all you have to do afterwards is press the shutter.
You know, the camera is not meant just to show misery. You can show things that you like about the universe, things that you hate about the universe. It's capable of doing both.
I think knowing people by first names, not by what they do sexually, is really what it's about. Not being afraid. Fear is the enemy. I've always been comfortable with being gay.
We become very impressed when we get to look inside ourselves, into pictures. That's the relationship we have with pictures. Every picture is a piece of the inside of ourselves.
You ask me about my ex-wife? That is not polite. But I will answer. I got another wife now. Much younger, much nicer, much prettier. And so much more intelligent than Benetton.'
A hundredth of a second here, a hundredth of a second there - even if you put them end to end, they still only add up to one, two, perhaps three seconds, snatched from eternity.
When we were on the farm, we were isolated, not just by geography but by the primitive living conditions: no electricity, no running water and, of course, no computer, no phone.
Why should there be only one sort of photography? I want to create images with elements of my choosing, narrative or evocative... I give myself a literary frame, I tell a story.
When I was starting out, when I put aside my career as an economist. I looked at every book, went to every show, did my first stories, developed my first films. A fabulous time.
I felt compelled to venture forth and explore the true face of the world. Leading a satisfying life of plenty had blinded many of us to the immense hardships beyond our borders.
This coincided with the fall of the Berlin Wall and Europe coming closer together, and nightlife and techno and ecstasy culture seemed like a very powerful panEuropean movement.
Make your work deeper and better than those before you, and eventually someone will notice. If you don't think the work is better than what you've seen, then go back until it is.
Photography is a way of feeling, of touching, of loving. What you have caught on film is captured forever... it remembers little things, long after you have forgotten everything.
I see my work plagiarized in gardening programmes and decorating programmes and car adverts, and I suppose I have to accept that's just the way art gets assimilated into culture.
I photograph from the heart. I adore little babies and I think that shows. My images are really very positive, very simple, and from the heart. Babies speak a universal language.
A lot of scripts that I was given I didn't feel were right for me, because I didn't feel anything for them - I didn't feel like I was going to change in life and start directing.
You should make photographs with your heart, mind, eye & soul. The capture device is simply there to allow you to transfer your vision to a medium that you can share with others.
I have no intention of flattering people. I like wrinkles and crow's feet and flaws, and somebody should know, if I'm going to photograph them, that's going to show up, you know?
My passion is to open people's eyes to the sea using the power of photography as a universal language to convince the unconvinced among us that the oceans are fragile and finite.
Anyway I feel myself a bit on the edge on the art world, but I don't mind, I'm just pursuing my work in a very excited way. And there isn't really a mainstream anymore, is there?
What I loathe is the multi-national conglomerates who must take responsibility for the degradation and pollution of so much of our landscape with their factory farming and greed.
The person who looks at a photograph as a complete picture, unable to say anything about anything except the facts which existed at the moment of exposure, does not see very far.
What if I said that every photograph I made was set up? From the photograph, you can't prove otherwise. You don't know anything from the photograph about how it was made, really.
I've been with Life now for seventeen years and I have written several articles for them and will be doing more writing and do at least two assignments a year besides my writing.
On one hand you want to see your subject well. On the other hand, you want to be caught off guard to retain the spontaneity. If you know your subject too well you stop seeing it.
It takes me a long time to change. I don't think you can just go out and figure out a bunch of visual ideas and photograph. The change happens in living and not through thinking.
There is no closed figure in nature. Every shape participates with another. No one thing is independent of another, and one thing rhymes with another, and light gives them shape.
It seems dangerous to be a portrait artist who does commissions for clients because everyone wants to be flattered, so they pose in such a way that there's nothing left of truth.
I don't think science is necessarily incompatible with mystical or spiritual sensibilities. I often weigh them equally in my thinking, which sometimes finds itself into the work.
Doubt always hovers nearby, but I take photographs the way a musician hums. Looking is like breathing. So when luck turns my way and offers me a good picture, joy is surely nigh.
If anyone gets in my way when I'm making a picture, I become irrational. I'm never sure what I am going to do, or sometimes even aware of what I do-only that I want that picture.
My favourite words are possibilities, opportunities and curiosity. I think if you are curious, you create opportunities, and then if you open the doors, you create possibilities.
I pride myself in being an aficionado of the British seaside. Throughout my career, I have visited and worked in many of the famous British resorts, from Great Yarmouth to Largs.
I work in colour sometimes, but I guess the images I most connect to, historically speaking, are in black and white. I see more in black and white - I like the abstraction of it.
I'm coming from journalism, but at the same time I'm tempted by poetry, politics, and maybe the idea of being a witness, a belief that you can still change things with the image.
For me, the importance of photography is that you can point to something, that you can let other people see things. Ultimately, it is a matter of the specialness of the ordinary.
If I like many photographers, and I do, I account for this by noting a quality they share - animation. They may or may not make a living by photography, but they are alive by it.
You have to bring to the photograph a prejudice about something, and I'm prejudiced against farmers who tie dead animals on fences. Therefore, I can make a meaningful photograph.
You should have a certain way of dressing based on how you feel. It's appropriate for you. I think Robert Rabensteiner's a perfect example of that - he just always looks so chic.
I don't want to do stories that don't have a heart. I'm just not going to be satisfied with stories where I can't be passionate about the subject, where I can't make a difference.