If 300 million people were to offer up the details of their private lives, you would need to hire another 300 million people just to keep up.
Being behind the lens gives me a completely different perspective, and because of my blog, I get to do projects and attend shows lending me another angle.
I'm half deaf. I have nerve damage and a constant ringing in both of my ears, and there are certain times and conditions when I can hardly hear at all.
A virulent, aggressive minority has decided that Americans don't know themselves what it is they should see, and need to be protected by people who are wiser than they are, even if they are only a tiny sliver of the population.
Now, I recognize that there are certain postures and angles that make people see red, which are evidence of original sin or something, and I avoid that. I don't shoot that any more.
Some of the people that I photographed as sticks became much more voluptuous, much rounder, in some cases dramatically so, and I think they're even more beautiful.
I could get my camera and point it at two people and not point it at the homeless third person to the right of the frame, or not include the murder that's going on to the left of the frame.
With a photograph, you are left with the same modes of interpretation as you are with a book. You ask: 'What do we know about the author and their background? What do I know about the subject?'
Actors are hard to photograph because they never want to reveal who they are. You don't know if you're getting a character from a Chekhov play or a Polanski film. It depends what mood they're in.
A piece of wall can be visually disintegrated from the whole into a separate triangle by plunging a diagonal of light from edge to edge on the wall; that is, side to floor, for instance.
Realizing this, I knew that the actual space of a room could be broken down and played with by planting illusions of real light (electric light) at crucial junctures in the room's composition.
I moved to New York when I was 15, but my parents lived nearby in Connecticut, so I could go be in this incredible countryside when I needed it.
When developing an idea, I remind myself not to start with compromise. I envision the ideal manifestation of the idea, as if I had no limits in resources, materials, or permission.
No one would bring their horse into a studio, because they don't want to bring their prized animals into an environment where they wouldn't be comfortable or where they might panic and hurt themselves.
In 19th-century France, artists were part of government. Artists are very sensitive to their time. They're very thoughtful people - it makes sense to hear what they have to say.
We are not yet at the point where our size, our being the drama industry, is sufficient to support full time professional crews, and that is very very important.
They will open up to what I would call corporate broadcastings where the non-commercial material will have air time. There's no possibility of that here right now, none.
It is part of the photographer's job to see more intensely than most people do. He must have and keep in him something of the receptiveness of the child who looks at the world for the first time or of the traveler who enters a strange country.
In this case we're building a corner to stretch a fence and hang a gate. It had a real purpose in the ranch here. I needed to do this. But at the same time, it made a beautiful structure.
His failures are as valuable as his successes: by misjudging one thing he conforms something else, even if at the time he does not know what that something else is.
The time when I had desire to go to the United States I didn't have a penny. It was in the middle of the depression, you know. I couldn't get as far as Hoboken at that time.
