Americans are always mortified when I tell them this, but in England, it's a tradition to put your plaques and photographs and awards and gold records and stuff in your bathroom. I don't know why.
The Heart Gallery premise is very simple. It is a special traveling exhibit of photographs featuring Los Angeles foster youth, designed to highlight the need to find loving adoptive families for waiting children.
I suppose we carry photographs now, but I think it's rather wonderful that people used to carry drawings and watercolours. I wish people did that more often.
A journalist is supposed to present an unbiased portrait of an event, a view devoid of intimate emotions. This is impossible, of course. The framing of an image, by its very composition, represents a choice. The photographer chooses what to show and ...
Everything is a subject. Every subject has a rhythm. To feel it is the raison detre. The photograph is a fixed moment of such a raison detre, which lives on in itself.
We look at the world and see what we have learned to believe is there. We have been conditioned to expect... but, as photographers, we must learn to relax our beliefs.
Research material can turn up anywhere - in a dusty old letter in an archive, a journal or some old photographs you find in a charity shop.
The Dutch customs once thought my pictures were photos. Where on earth did they think I could have photographed my subjects? In Hell, perhaps?
Never have I found the limits of the photographic potential. Every horizon, upon being reached, reveals another beckoning in the distance. Always, I am on the threshold.
Many of the critics today get airline tickets, hotel accommodation, bags, beautiful photographs, gifts and other expenses paid by the distributors, and then are supposed to write serious articles about the movie.
I don't have lights, I don't have assistants, I just go and meet somebody and take a photograph. That's really basic, and that's how I used to work when I was 17 or 18 in Holland.
I can work with shyness, but for the most part I want people to feel comfortable with me. It's really more about the photographer feeing comfortable right when they walk in that makes the subject feel comfortable.
I like to undress women - not to dress them. You know, like Manet's 'Olympia' or Helmut Newton's photographs - naked women with shoes. This is what I am trying to do.
We can't just pay attention to women who look fantastic in a photograph, because there are a lot of people that have fantastic things to say that don't look like 25-year-old white models.
I am trying to capture the women I photograph at their happiest. That is when they look their most beautiful. But I do understand that you have to make somebody feel completely comfortable in order to bring that out.
I started photographing people on the street during World War II. I used a little box Brownie. Nothing too expensive.
Emotions retain a timeless photographic memory. Good or bad, you can never forget how a person makes you feel.
I’ve always wondered why people who love you do that to you – give you photographs where they look beautiful, you not so much.
Art work is inconclusive. It opens your mind up. At least, that's what I hope it does. And advertising, using exactly the same photograph, closes things down. It makes it conclusive. It sells a product, and that is its primary function.
Black-and-white photography, which I was doing in the very early days, was essentially called art photography and usually consisted of landscapes by people like Ansel Adams and Edward Weston. But photographs by people like Adams didn't interest me.
photographs are very interesting, and you can look into them a million times and still find a new meaning in them, something in the past that was caught in the film itself…
