Photograph Quotes
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The photograph gives constant reference to the rectangle. This forces any idea into the confines of pictorial illusionism.
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People put barriers up in your path, and one of those barriers is age. They tell you, "You're too old. You don't photograph so well anymore." I know I don't photograph so well anymore, so what can I do? I can do something different, where it doesn't matter as much how I look.
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The physical thing of having a man following you around all day trying to take your photograph - it's eerie. There is a pure physical response. If you go up and kick a dog, it will bite you. But with photographers, you can't do that.
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It's too presumptuous and naïve to think you can change society by a photograph or anything else... I equate that with propaganda; I think that's a lower rank of purpose.
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I have a way to photograph. You work with space, you have a camera, you have a frame, and then a fraction of a second. It's very instinctive. What you do is a fraction of a second, it's there and it's not there. But in this fraction of a second comes your past, comes your future, comes your relation with people, comes your ideology, comes your hate, comes your love - all together in this fraction of a second, it materializes there.
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My chief joy is to photograph the great in heart, in mind, and in spirit, whether they be famous or humble.
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Every photograph is a battle of form versus content.
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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.
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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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A photograph is worth a thousand words, provided it is accompanied by only ten words.
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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 try to photograph people's spirits and thoughts. As to the soul-taking by the photographer, I don't feel I take away, but rather that the sitter and I give to each other. It becomes an act of mutual participation.
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It's important to me to have what I photograph undergo a certain transformation - to become a thing different from what we are used to, to be another version of itself.
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I don't know if all the women in the photographs are beautiful, but I do know that the women are beautiful in the photographs.
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There is no special way a photograph should look.
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So many times I've photographed stories that show the degradation of the planet. I had one idea to go and photograph the factories that were polluting, and to see all the deposits of garbage. But, in the end, I thought the only way to give us an incentive, to bring hope, is to show the pictures of the pristine planet - to see the innocence.
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My work is mostly about memory. It is very important to me that everybody that I have been close to in my life I make photographs of them.
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It's marvelous, marvelous! Nothing will ever be as much fun. I'm going to photograph everything, everything!
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I don’t have a philosophy. I have a camera. I look into the camera and take pictures. My photographs are the tiniest part of what I see that could be photographed. They are fragments of endless possibilities.
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The simple fact is this: There are no neutral photographs.
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I have a photograph at home of Fred Astaire from the knees down with his feet crossed. It's kind of inspiring because it reminds me his feet were bleeding at the end of rehearsals. Yet when you watch him, all you see is freedom. It's a reminder of what the job is about in general, not just being in musicals.
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Most people stiffen with self-consciousness when they pose for a photograph. Lighting and fine camera equipment are useless if the photographer cannot make them drop the mask, at least for a moment, so he can capture on his film their real, undistorted personality and character.
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Well, in terms of what a camera does. Again, you go back to that original idea that what you photograph is responsible for how it [the photograph] looks. And it's not plastic, in a way. The problem is unique in photographic terms.
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You've got to deal with how photographs look, what's there, not how they're made.
