In my mind I needed a symbol of today’s technology, and I realized that what I wanted to photograph was the Space Shuttle. And so that’s where Places of Power came into being.
I realized that one of the differences between news photography and dance photography was that the former has to tell a specific story, whereas all a dance photograph had to be was visually interesting.
I think if you do a lot of interviews, you’re laying yourself open. If you put yourself out, accept every invitation to every premiere, then you can’t really complain when people knock on your front door and photograph you in the street.
I really believe there are things nobody would see if I didn’t photograph them.
In my first 15 or 20 years of authorship, I was almost never asked to give a speech or an interview. The written work was supposed to speak for itself, and to sell itself, sometimes even without the author’s photograph on the back flap.
I choose colors I like and will photograph well. I don’t do color theory!
It’s very difficult to photograph an opera. And they messed up on it. It just wasn’t there. And I don’t blame the Gershwins for taking it away. Of course, if they had gotten the original company to have done it, it would have been very good.
I went to an exhibition at San Francisco’s Asian Art Museum about Shanghai, about how courtesans had been influential in bringing western culture to Shanghai. I bought a book and in it saw this striking group of women in a photograph called ‘The Ten Beauties of Shanghai’.
A photograph can make you feel so many different things. When you look at war photographs of Vietnam, or something similar, it makes you feel anguish and sadness and pain. Then in other moments, when you look at Jackie Kennedy walking down Fifth Avenue, that makes you feel glory and richness.
As soon as you put something to bed like the ‘Women’ book, you’re never finished. There were portraits of people that I wanted to photograph – it’s an endless subject.
I’m interested in extrovert characters, people who are doing something. But I used to only be able to photograph people I was interested in or attracted to, either psychologically or physically. That all changed when I did the ‘Go Sees.’
Sometimes I work on film sets. I’ve done this for 40 years. I always wanted to photograph on the set of an Ingmar Bergman film. Unfortunately, I never had the opportunity.
My brother had fabulous children before I had children and for some reason I wanted to photograph them, and that was when I got my first camera. Children have something totally unconscious about them. That’s how I learned.
I admit that I am hopelessly hooked on the printed newspaper. I love turning the pages and the serendipity of stumbling across a piece of irresistible information or a photograph that I wasn’t necessarily intending to read.
I started shooting for ‘Photograph’ right after ‘Dangal’ so, it’s really special for me.
The viewer must bring their own view to a photograph.
A person shows himself for an instant as in a photograph but clearer and in the background something which is bigger than his shadow.
I’m in love with the markets of the world. It’s a photograph of a city, a culture.
I was obsessed from the moment I took my first photograph. I wanted to make photography my career.
I wore Armani Prive to Cannes, and that was incredible. The craftsmanship is something I never understood until I wore it: the structure, the integrity of the fabrics, the colours, how things photograph.
What mattered about Alan Kurdi’s photograph was that it made Canadians very angry, and the Conservatives, Liberals and New Democrats ended up competing with each other over which party was offering the most generous refugee policy.
A window covered with raindrops interests me more than a photograph of a famous person.
As fantastic as it is to have ‘Vogue’ and ‘Vanity Fair’ as places to work, I don’t often get to shoot the kind of things I like to photograph in the way I like to photograph.
There are moments that you suffer a lot, moments you won’t photograph. There are some people you like better than others. But you give, you receive, you cherish, you are there. When you are really there, you know when you see the picture later what you are seeing.
You know, Im directing a documentary about the history of Abbey Road Studios at the moment, so Ive been taken back to those times. There is a photograph of me aged three months on one of the sofas in the studio, so I was there before I can remember being there.
Nothing in the world in perfect. Even a still photograph.
Some photographers take reality… and impose the domination of their own thought and spirit. Others come before reality more tenderly and a photograph to them is an instrument of love and revelation.
Any child who has lost a parent probably knows every single photograph in existence of that parent.
I’m not a movie star, but I still get my photograph taken when I walk down the street, hundreds of times. I never say no.
Mourinho knows me! He sat in my lap as a little boy, and wanted his photograph taken with me. I knew his father and so I bounced little Jose on my knee. He always looked up to me.
I probably get a deeper satisfaction of having taken a very good photograph than of having written something very good, a very good story. Maybe it’s because the element of magic is so present in a good photograph – luck and magic, but also hard work and being ready and all that.
Nothing speaks louder than an evocative photograph that stirs the imagination, tugs at the heart strings and engages the mind.
I want my photos to be fresh and urgent. A good photograph should be a call to arms.
A photographic portrait is a picture of someone who knows he is being photographed, and what he does with this knowledge is as much a part of the photograph as what he’s wearing or how he looks.
Everything I choose to photograph, I think is beautiful.
It’s very hard for me to photograph someone when I’m not attracted by who they are.
I had a nice, pert nose but a plain round face and a mop of curly brown hair. That was not the photograph of a successful model.
Before the ’80s, no girl would ask to click a photograph. That was modest and demure.
I fight to take a good photograph every single time.
I just really wanted to do art, except when I was taking those photographs of people I would make the clothes that I would photograph them in so I could control the whole thing.
I’ve fallen in love with the classical world of imagery, and what I’d like to do now over the last bit of my life is to photograph some nudes.
If each photograph steals a bit of the soul, isn’t it possible that I give up pieces of mine every time I take a picture?
Well, it was kind of an accident, because plastic is not what I meant to invent. I had just sold photograph paper to Eastman Kodak for 1 million dollars.
I photograph the things that I do not wish to paint, the things which already have an existence.
I began to realise that film sees the world differently than the human eye, and that sometimes those differences can make a photograph more powerful than what you actually observed.
There are plenty of beautiful girls who don’t photograph well.
I really prefer light-eyed models, They photograph more easily. Of course, I come from a light-eyed background, so maybe that influenced my taste.
Character, like a photograph, develops in darkness.
To photograph is to confer importance.
You don’t necessarily get the background of a character every time, So, you have to create it mentally and write about it. This is something I learnt from Geetanjali Kulkarni with whom I worked in ‘Photograph.’
I was looking at a photograph of the 1997 election campaign yesterday, and I thought: ‘My God. Did I really have that hairstyle? And that Tory blue suit?’
I only photograph myself at poignant moments in my life as a check of where I am and how large my thighs are.
The reason I do photographs is to help people understand my music, so it’s very important that I am the same, emotionally, in the photographs as in the music. Most people’s eyes are much better developed than their ears. If they see a certain emotion in the photograph, then they’ll understand the music.
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.
It is not enough to photograph the obviously picturesque.
Whatever precautions you take so the photograph will look like this or that, there comes a moment when the photograph surprises you. It is the other’s gaze that wins out and decides.
You want to make the photograph work in every way possible. Doesn’t matter where it is in the world.
But I was, and still am, an avid reader and so when I first started I chose to photograph many of the great writers in this country to try and earn a living.
However spontaneous I hope a photograph will look, I always put a lot of thought into how I can make it happen. The very best pictures are the most relaxed, so a lot of fussing around technically can completely break the spell, and everyone freezes up with nerves.
I try to photograph with love and sympathy.
