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There is a transformation, you see, when you just put four edges around it. That changes it. A new world is created.
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All things are photographable.
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When Iām photographing I see life.
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Of course, you have politics, the Vietnam war and all that monkey business. There are all kinds of reasons. At every one of those demonstrations in the late Sixties about the Vietnam war, you could guarantee there'd be a series of speeches. The ostensible purpose was to protest the war. But then somebody came up and gave a black power speech, usually Black Muslims, then. And then you'd have a women's rights speech. It was terrible to listen to these things.
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Well, I'm not going to get into that. I think that those kind of distinctions and lists of titles like "street photographer" are so stupid. I'm a photographer, a still photographer. That's it.
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Every photograph is a battle of form versus content.
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I don't think anything happens without the press, one way or the other. I think it's all done for it. You saw it start, really, with Martin Luther King in Birmingham. He did the bus thing. And I don't think anything that followed would have happened if the press hadn't paid attention.
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You have a lifetime to learn technique. But I can teach you what is more important than technique, how to see; learn that and all you have to do afterwards is press the shutter.
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There's no way a photograph has to look... in a sense. There are no formal rules of design that can apply.
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If you run into a monkey in some idiot context, automatically you've got a very real problem taking place in the photograph.
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I'm pretty fast with a camera when I have to be. However, I think it's irrelevant.
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You see something happening and you bang away at it. Either you get what you saw or you get something else--and whichever is better you print.
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There is no special way a photograph should look.
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Museum of Modern Art doesn't have anything to do with what I do. Probably has made some differences in my sales, I wouldn't be surprised. Again, you have to ask other people, because I don't have a measuring device.
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Well, it was strange, because the phone rang and a teaching job turned up that sounded interesting. And I always did my own work. The Animals and a lot of Public Relations were done while I was doing commercial work.
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There are people who are socially ambitious. If you go back aways, the Sculls, for instance, had a lot of money and they were socially ambitious. If you get an old master, it's not going to do you any good socially.
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The photo is a thing in itself. And that's what still photography is all about.
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Photography is not about the thing photographed. It is about how that thing looks photographed.
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You know, I really don't think you learn from teachers. You learn from work. I think what you learn, really, is how to be- you have to be your own toughest critic, and you only learn that from work, from seeing work.
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When I was a kid in New York I used to go to the zoo. I always liked the zoo. I grew up within walking distance of the Bronx Zoo. And then when my first two children were young, I used to take them to the zoo. Zoos are always interesting. And I make pictures.
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At times people in the press were also useful to me.
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I have a burning desire to see what things look like photographed by me.
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I knew that was coming. That's another stupidity. The people who use the term don't even know the meaning. They use it to refer to photographs they believe are loosely organized, or casually made, whatever you want to call it. Whatever terms you like. The fact is, when they're talking about snapshots they're talking about the family album picture, which is one of the most precisely made photographs.
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I'm surviving. I'm a survivor.