I had luck, but I worked hard and I suffered. It's not just photography I'm talking about. It's about whatever dream you want it to be.
In almost every photograph I have ever made, there is something I would do to complete it. I take that to be the spirit hole or the deliberate mistake that's in a Navajo rug to not be godlike, but to be human.
My father taught me photography. It was his hobby, and we had a small darkroom in the fruit cellar of our basement. It was the kind of makeshift darkroom that was only dark at night.
My allegiance was always to the act. I wanted them to be happy. I wasn't owned by a magazine or a record label. And I was a very naughty boy to boot!
I had done a directing producing job before on 'Big Day' and 'Jake in Progress,' and those are two shows where I directed the pilot and stayed with it in series.
I think it's not uncommon for new television shows to spend certainly the first year, but without a doubt, like, the first eight or ten episodes, kind of figuring out what the show is.
Ultimately, I made my range wider because I wanted to suit each publication that I worked for. Talk about reinvention - I'm like the Madonna of photography.
A lot of photographers like models to be blank canvases - but bland girls don't influence me. I don't like playing with dolls; I like playing with people.
I don't like a tormented photograph. Something attracts you in them, but the attraction isn't because she has a pot on her head or tonnes of make-up and weird clothes and weird everything.
When you approach something to photograph it, first be still with yourself until the object of your attention affirms your presence. Then don't leave until you have captured its essence.
Wal-Mart uses technology to increase sales volume, but the more it does so, the more it drives down profit margins - its own and everybody else's. The same logic does not appear to hold for Goldman Sachs.
I can see now that a concept or even a feeling makes no sense unless out of our substance we spin around it a web of references, of relationships, of values.
You're not just this person who's from your own specific experiences, but the collective experience of what makes you who you are because of time.
I hope the cooks who are working for me now are getting that kind of experience so they can use what they're learning now as a foundation for a great career.
Having had that experience... I think, what modern culture wants to see is the relationship with the woman. I don't think you can tell a story on film nowadays where the woman simply is there for the man when he decides to settle down.
I feel like, in a lot of shows where the woman is in charge, the woman is this ball buster and the guy is sort of weak and spineless. And that's never been my experience in a relationship. I think it's much more interesting that the guy is the boss. ...
I became interested in photography during my first visit to the United States. I was a student at a university in Holland. I was overwhelmed by the beauty of the American West. That was when I learned about the tradition of nature in American photogr...
Beauty, like truth, is relative to the time when one lives and to the individual who can grasp it. The expression of beauty is in direct ratio to the power of conception the artist has acquired.
Violence can be very grotesque and also intensely attractive. What interests me is how the two - beauty and violence - live side by side, and how moments can be created and erased almost simultaneously. Destruction is painful, but at times it can be ...
Beauty is as relative as light and dark. Thus, there exists no beautiful woman, none at all, because you are never certain that a still far more beautiful woman will not appear and completely shame the supposed beauty of the first.
Too little is it considered, while we gaze on aristocratic beauty, how much good food, soft lying, warm wrapping, ease of mind, have to do with the attractions which command our admiration.
