Having photographed the landscape for a number of years and specifically working with trees and in the forest I found, without consciously thinking about it, that it was a great learning experience for me in terms of organizing elements.
'Lucky Us' ends with a description of a photograph of the novel's fictional family. I could never get enough of my own family photo albums.
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.
The few people who ask to have their photographs with me, I almost always say yes, except for a few circumstances, like when my family is around.
My mom was a medical photographer, but on the side, she did a before-and-after glam photography business in the house. She would do makeup and hair - and I was her assistant.
I understood that synergistic dance between photographer and object - 'muse,' if you will, 'model,' whatever you call us. It's that silent language of communication, like being psychic with each other.
Think of an economy where people could be an artist or a photographer or a writer without worrying about keeping their day job in order to have health insurance.
I had always been kind of obsessed with making a home of my own and was always drawing rooms that I wanted to live in, down to pictures on the wall and the faces that would be in the photographs, and how the couches would be situated.
I used to always be putting my hat on children being photographed and then getting home and discovering I was riddled with lice. That used to happen very, very regularly. I used to get headlice all the time.
You always want to come back with an image that's interesting visually, and you hope to get something from the person you photograph that's different than other images you know of these people.
We share a huge visual memory bank, mostly through painting and other images in history. I think when a modern photograph taps into those, sometimes very subliminally, it makes people respond.
A number of years ago, I found a book of photography by Weegee; he was a crime photographer in the 1930s in New York. He was the first person to put a police scanner in a car and drive around.
I like a decent funeral, and God knows in my family we've seen enough of them. Looking through family photographs now is like watching an episode of 'Dad's Army.'
Looking through family photographs now is like watching an episode of 'Dad's Army.' My relatives seem to drop like flies around me. Who's next? Will it be someone I can't stand?
We must carefully consider card security solutions, such as adding photographs or machine-readable electronic strips, so to prevent further breaches of individual privacy that could result from changes to the design of Social Security Cards.
Through books and photographs, I saw a world that was not my own - and I realized that there was another world. That's why I'm concerned about education, because it helps our children see other worlds.
I treat the photograph as a work of great complexity in which you can find drama. Add to that a careful composition of landscapes, live photography, the right music and interviews with people, and it becomes a style.
When we find a fossil, we mark it. Today, we've got great technology: we have GPS. We mark it with a GPS fix, and we also take a digital photograph of the specimen, so we could essentially put it back on the surface, exactly where we found it.
I am a big fan of photography, more of being behind the camera - so when I get the opportunity to work with such great photographers, I always try and learn from their technique.
One of my great goals when I first started taking photographs or showing them publicly is that people might want one for over their desk. That's my goal.
It takes a lot of imagination to be a good photographer. You need less imagination to be a painter because you can invent things. But in photography everything is so ordinary; it takes a lot of looking before you learn to see the extraordinary.
