I ask people why they have deer heads on their walls. They always say because it’s such a beautiful animal. There you go. I think my mother is attractive, but I have photographs of her.
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.
I didn’t really know how to make a film when I made ‘Control’. I had to create my own language, just as I did when I started taking photographs. I never studied either one.
In school I was in the dark room all the time, and I’ve always collected stray photographs; there’s a great deal of memory in them.
Liberman said to me, ‘I must cut back on the work you do for Vogue. The editors don’t like it. They say the photographs burn on the page . After some years, I began to understand that what they wanted of me was simply a nice, sweet, clean-looking image of a lovely young woman.
It doesn’t matter what you do, as long as you’re fulfilling that inner need, and for me the need is more the process than the finished product. My photographs are stories of the process.
Life is not significant details, illuminated by a flash, fixed forever. Photographs are.
People taking photographs of their meals are not critics; they are from the United States.
I had already done a lot of research for Rough Riders, keeping notebooks and old photographs. Some of the books were antiques for that time period, with the covers falling off.
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.
In this first testing ground of the atomic bomb I have seen the most terrible and frightening desolation in four years of war. It makes a blitzed Pacific island seem like an Eden. The damage is far greater than photographs can show.
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.
I still like to walk around and take photographs, but it’s hard to do that if a lot of people are looking at you.
I think of myself as a writer who photographs. Images, for me, can be considered poems, short stories or essays. And I’ve always thought the best place for my photographs was inside books of my own creation.
I still love to look at photographs but I couldn’t do it myself anymore.
The entirety of ‘Bellocq’s Ophelia’ was a project, and I was interested in doing research and looking at photographs and writing about them, imagining this woman Ophelia and what her life was like and the kinds of things she thought about.
I do not like bad photographs. I don’t like to be badly lit. There is a fashion, particularly on stage, for very ‘toppy’ lighting, which makes a child look 50. Ten o’clock is very good. If someone is taking a picture, you say, ‘Lamps at 10 o’clock,’ then everybody looks lovely.
Swedes are a really humble and shy people in many ways, but I think it’s pretty much the same as in the U.S. Little girls want to take photographs with me at lunch.
I enjoy Instagram because it is a visual medium platform, with more photographs.
After art college, I got a job as a medical illustrator, and I was pretty good. I had to imagine what was going on in the operations because the photographs just showed a mess.
You can get anything from Mozilla Firefox-based themes to nature themes to your own photographs.
I did find a wonderful girl last year, but the photographs that we did were more about motorcars.
Snapchat really has to do with the way photographs have changed. Historically, photos have always been used to save really important memories: major life moments. But today… pictures are being used for talking.
I think people are more apt to believe photographs, especially if it’s something fantastic. They’re willing to be more gullible. Sometimes they want fantasy.
I actually own works of art I’ve always wanted to own – I collect photographs by the late William Claxton. I met him in L.A.; later, he agreed to shoot the cover for my album ‘Call Me Irresponsible’ for free. I was so fat at the time, and he made me look as good as I possibly could.
You get a lot of people requesting photographs but I tend to keep myself to myself, pull my cap down.
Getting a new passport took me a stupid amount of time. I had to go back five times with different photographs because they kept saying I was smiling, which is against the rules. I was not smiling.
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.
Print publications have to be as luxurious an experience as possible. You have to feel it coming off the page. You have to see photographs and pieces that you couldn’t possibly see anywhere else.
Creating films and photographs through situations that few others could experience is my life’s inspiration.
When I came to Mumbai, my rakhi brother Vivek Jain showed my portfolio to the producer of Bidaai,’ Rajan Shahi. He liked my photographs and asked me to join the serial at the earliest.
When I am preparing my ‘lookalike’ photographs, I think about the character of the real people, because, if the photographs are going to be plausible, you have to convince the viewer that they could have happened.
We’re all amateur investigators. We scan bookshelves, we ogle trinkets left out in the open, we calculate the cost of furniture and study the photographs on display; sometimes we even check out the medicine cabinet.
I like photographs which leave something to the imagination.
Even the photographs of Henri Cartier-Bresson, with all due respect to him, are notoriously burned and dodged.
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 have a vision of life, and I try to find equivalents for it in the form of photographs.
I want adventure in my life. I want to do things I haven’t done before. These Hollywood people are so careful of their image and looking right, but there’s a wildness when I come into the photographs. I just want to wade through rivers, climb mountains.
Everything rational and sensible abandons me when I try to throw out photographs. Time and time again, I hold one over a wastebasket, and then find it impossible to release my fingers and let the picture drop and disappear.
Tell a story with your eyes when you face the camera – it makes all the difference. My best tip for making skin look good in photographs is to go easy on the make-up. You don’t want it to look heavy and mask-like.
I can often tell when drawings are done from photographs, because you can tell what they miss out, what the camera misses out: usually weight and volume – there’s a flatness to them.
From birth until I went to art college when I was 19, there are perhaps less than a dozen photographs of me.
As a very small boy, my passion was nature, and I had pets – cats, a dog and a bunny rabbit – and I wrote a very small book called ‘My Pets,’ filled with their photographs and a discussion about my pets and how much I loved them… That was my first book.
When I started performing, there was no Internet; I didn’t really have anything to copy. I kind of had to just make up what I thought burlesque was, based on photographs of Sally Rand or whatever.
I look back at photographs and I remember at the time I thought I was not very attractive.
Sometimes I work purely 8-12 shifts, banging stuff into the computer. Other times, my office is like a scene from a detective movie, with Post-it Notes, plans, photographs all stuck on the walls and arrows going everywhere, and it’s 4 A.M.
During the mission, Walter Jones, a team member was given a package containing bone fragments by a Lao. The source said they were from a crash site. He presented photographs showing himself in company with others digging around obvious aircraft debris.
All photographs are accurate. None of them is the truth.
I don’t take any photographs. I travel a lot by myself, and I feel weird taking photos on my own.
From taking photographs of George and Charlotte, I have been struck by the wonderful lack of self-consciousness that you see in photographs of children, without the self-awareness that adults generally feel.
I always see my songs in colors, and I’m often more inspired by movies and photographs than I am by other songs when I write my music. I’m also inspired by fashion, and I want my music to be a visual painting of what’s in my mind.
A review of summit day photographs will show that I was clothed in the latest, highest quality, high altitude gear, comparable, if not better, than that worn by the other members of our expedition.
So successful has been the camera’s role in beautifying the world that photographs, rather than the world, have become the standard of the beautiful.
You can’t see fear or lust; you can’t photograph someone’s anxieties, how disappointment feels. Photographs are approximations.
I lived in a little shack in Santa Monica, and I was working on ‘The O.C.’ and when it started airing, I took my laundry down to the laundromat like I always had, and so many people along the two blocks I walked and in the laundromat stopped me and asked me for photographs.
