I look at ordinary objects, and I see things that other people don’t see. That’s why I’m a photographer.
In the late Fifties and early Sixties, I used to think that most of these fashion creators weren’t that great, and if the photograph was good, it was mostly thanks to the photographer.
I was a photographer. That’s how I began my career, behind the camera.
I consider it essential that the photographer should do his own printing and enlarging. The final effect of the finished print depends so much on these operations.
I’m a portrait photographer that’s used to shooting celebrities, and I usually need time and all kinds of lights and a studio to set up my shots.
I love it when a photographer lets me create my own movement and feeling to the images. By that I mean he doesn’t restrict me in his or her own ideas but rather gives me a direction and lets me work within those boundaries freely.
I’m very lucky that I’m not a photographer for hire – people hire me for me. I go into every commercial work with an art focus, with that lens; every brand I’ve worked for just lets me do whatever I want to do. I have full creative freedom.
I have been frequently accused of deliberately twisting subject matter to my point of view. Above all, I know that life for a photographer cannot be a matter of indifference. Opinion often consists of a kind of criticism. But criticism can come out of love.
The painter constructs, the photographer discloses.
My uncle was a photographer for ‘The Irish Times.’
I started out on photography accidentally. A policeman came to a stop at the end of my street, and a guy knifed him at the end of my street. That’s how I became a photographer. I photographed the gangs that I went to school with.
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 what to exclude.
The subject matter is so much more important than the photographer.
In England, I’m already labeled a rock photographer, which is a little insulting, because I’m not a rock photographer at all.
I don’t think at that time I realized how important it was and how important it was for me to be here and carry on that legacy in our family of being a photographer.
I’m just like a photographer or a director. Of course I have an opinion, but I don’t think my opinion, or what I want to say… is so obvious ’cause that’s not my job. My job is just to give a point of view, not more than that.
The fashion industry certainly has its obscene sides. The cost of a coat can be obscene. So can the cost of a photo shoot if you’re working with a really good photographer.
French ‘Vogue’ was always a photographer’s magazine.
In my final year of college, I was interning with L’Oreal, when during one of the photo shoots, a photographer suggested I become a model. I was working under Smira Bakshi, who was this really cool chick, as she was loaded, had her fun, and was successful. I basically aspired to be her.
Everybody is a film critic today, just like everybody who has a DSLR or a mobile phone is a photographer today. But, a saturation point will come some day.
As an avid photographer, I also took advantage of the latest technology in photography – digital photography – to post photos on my website on a daily basis.
I was always introduced as the Beatles photographer and I gave it up in the end. I was so unsure of myself. Am I good or am I just the Beatles photographer? People were not interested in what I did before. I could not stand it any more.
When you’re modeling you’re actually acting for the camera and the photographer. It’s more fun, too because there are no lines to memorize.
I dream that someday the step between my mind and my finger will no longer be needed. And that simply by blinking my eyes, I shall make pictures. Then, I think, I shall really have become a photographer.
My mum was very interested in art and liked to write, and my dad was a hobbyist photographer.
I don’t like gimmicky pictures; I’ve always hated them. I like pictures that are very clear and clean, whether you’re a great street photographer – somebody like Friedlander or Winogrand or Cartier-Bresson – or whether you’re a portraitist, like Irving Penn.
My mom was a medical photographer, but on the side, she did a before-and-after glam photography business in the house. She would do makeup and hair – and I was her assistant.
The first things I did was I was a writer, painter, and photographer, and we grew up very poor, so even though I could get into any college I wanted, there was no way to pay for it.
If I hadn’t become a photographer, I would have loved to become a doctor. I would have loved to have done something that actually helped people and changed their lives.
I’ve always had a healthy disregard for authority – it allows me to do my job as a portrait photographer and not as someone who is playing the power game.
For a short time I was an assistant to a professional photographer, and I felt that my soul was not there. That is the stage when I decided to stay in London and do a graduate degree.
My friend Danny Clinch, who’s a photographer, gave me a big, signed, numbered print of a photo he took of Eddie Vedder in Seattle. It’s hung in my writing room where I have posters of writers that inspire me. They’re all pointing at me. Tom Waits is like, ‘Don’t sell out!’
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 never set out to be a photographer.
A photographer must choose a palette as painters choose theirs.
I got a camera when I was nine years old and it wasn’t until I was a model that I realized you could be a photographer for a job.
Edward Curtis was a photographer in the late 19th century who tried to document the rapidly disappearing Native Americans. He assembled a canon of work which, today, is exemplary and invaluable.
