You can give some kind of spark of life to a comic that a photograph doesn't really have. A photograph, even if it's connecting with you, it seems very dead on the page sometimes.
Has one hostage from Lebanon come back with a photograph of his abductors? Has any hostage ever come back with a photograph of his abductors smiling? I mean, this was so incredible!
Still photographs are the most powerful weapon in the world. People believe them, but photographs do lie, even without manipulation. They are only half-truths.
When you are 18, 19, 20, you're used to being photographed all the time, in a certain way. So, the narcissism becomes almost out of control. And the way that young women are photographed, they become addicted to this feedback of the image.
Photographer #1: Whose crazy idea was it to bury him in the cape? Photographer #2: I heard it was in the will. It was how he wanted to be remembered.
You do your work as a photographer and everything becomes past. Words are more like thoughts; the photographer's picture is always surrounded by a kind of romantic glamor - no matter what you do, and how you twist it.
A lot of photographers think that if they buy a better camera they’ll be able to take better photographs. A better camera won’t do a thing for you if you don’t have anything in your head or in your heart.
I'm not photographing the model in the classic sense; the model is playing a part in my photographs. It's more like theater. I always work with models I know, and I let them participate in deciding how to act their part.
Yeah, you’re right about having entire rooms full of film and photos… in that Sydney Mines house I have a darkroom, I have boxes of film and home movie footage… I have a few projectors, I have piles of Kodachrome slides… I like photographs. T...
Dipping into the archive is always an interesting, if sometimes unsettling, proposition. It often begins with anxiety, with the fear that the thing you want won't surface. But ultimately the process is a little like tapping into the unconscious, and ...
To get from the tangible to the intangible (which mature artists in any medium claim as part of their task) a paradox of some kind has frequently been helpful. For the photographer to free himself of the tyranny of the visual facts upon which he is u...
To photograph is to hold one's breath, when all faculties converge to capture fleeting reality. It's at that precise moment that mastering an image becomes a great physical and intellectual joy.
I have had the privilege of working with the best in the business, from photographers to designers to magazines. There's not much more to ask for but I'm still looking forward to one day working with photographers Mert and Marcus, Tim Walker and Nick...
I can see myself as a very old man in a terrific wheelchair. Only, I won't be photographing the tree outside my window, the way Steichen did. I'll be photographing other old people.
My photographs are not planned or composed in advance, and I do not anticipate that the onlooker will share my viewpoint. However, I feel that if my photograph leaves an image on his mind, something has been accomplished.
A fashion photographer is nothing without clothes and hair and makeup. And when I speak to other photographers, a lot of them can't reference a picture by the designer. Me, I say, 'The Balenciaga.' And I go to the shows. I feel like it's my business.
The photographer begins to feel big and bloated and so big he can't walk through one of these doors because he gets a good byline; he gets notices all over the world and so forth; but they're really - the important people are the people he photograph...
I did photograph Angelina Jolie up in Vancouver when she was making 'Life Or Something Like It', and they gave me the drawings they wanted me to photograph of her up there, but she didn't really care for them that much, and ultimately they weren't ev...
I'm more interested in photographing people who have done something, like writers or directors - even billionaires - as long as I can study them before I photograph them.
Unlike any other visual image, a photograph is not a rendering, an imitation or an interpretation of its subject, but actually a trace of it. No painting or drawing, however naturalist, belongs to its subject in the way that a photograph does.
A photograph of a woman crying tells me nothing about grief. Or a photograph of a woman ecstatic tells me nothing about ecstasy. What is the nature of these emotions? The problem with photography is that it only deals with appearances.
