It is a peculiar part of the good photographer's adventure to know where luck is most likely to lie in the stream, to hook it, and to bring it in without unfair play and without too much subduing it.
I'm aware of how lucky I am. Being able to make pretty good money, and get to do a lot of fun work, and at the same time I'm not besieged by photographers.
Selfies became too big. The selfie photos are not good. Fans ask me for a selfie, and I say, 'Let's just do a photo.' I'm not anti-selfie, but I like a classic photograph.
I was not a Southern California girl. I hated having my photograph taken. I felt shy and embarrassed around famous people.
These days, with 'American Idol' and all the other reality shows, young people become famous overnight, and that can be very difficult to handle, the way photographers follow you around and study your every move.
Truthfully, I don't really think of myself as a photographer. I don't have all the disciplines and knowledge of a person who's spent their life devoted to photography.
In my 20 years as a photographer, covering conflicts from Bosnia to Gaza to Iraq to Afghanistan, injured civilians and soldiers have passed through my life many times.
I was primarily interested in people, and people in action, so that I did nothing photographically in the sense of doing buildings for their own sake or a still life or anything like that.
Everything has the potential to be extraordinary, whether an old photograph, a book or a life. If you find it ordinary, you simply need to take a closer look.
When you put an individual on the cover of a big picture magazine, like 'Life of Look', their career skyrocketed. As a photographer, you were very empowered; people came to you, bowing to you and what you represented.
For celebrities, privacy is utterly nonexistent. You are asked intrusive questions about your personal life. You can be photographed at any moment.
Seeing is no longer believing. The very notion of truth has been put into crisis. In a world bloated with images, we are finally learning that photographs do indeed lie.
I would love to direct a western. I love taking photographs and I'm always fascinated with angles. Also, my father was a film editor, and I have a talent for thinking of things that aren't always in a script.
I've only done one shoot where it's modeling clothes, not like me in my environment. And the stylist, literally, I had her stand behind the photographer and do poses.
We photograph things in order to drive them out of our minds. My stories are a way of shutting my eyes.
I think a photograph, of whatever it might be - a landscape, a person - requires personal involvement. That means knowing your subject, not just snapping at what's in front of you.
When you understand how to do that dance, when the photographer says, 'Hold it, do it,' and you know you're getting it right, oh, the fun. It is fun.
You'll reach into your wallet to brandish a photograph of a new puppy, and a friend will say, 'Oh, no - not pictures.'
Bernard Vonnegut, named for his paternal grandfather, was born August 29, 1914. He was a serious-looking little boy, even in informal photographs.
I think people are more apt to believe photographs, especially if it's something fantastic. They're willing to be more gullible. Sometimes they want fantasy.
In the photographs themselves there's a definite contrast between the figures and the location - I like that kind of California backyard look; clapboard houses, staircases outdoors.
