Luckily, many other people tell me how they have had a particular landscape photograph of mine in their office or bedroom for 15 years and it always speaks to them strongly whenever they see it.
Perhaps the most important people that I should photograph are the people who don’t have a voice.
In 1990, when they asked me to shoot a cover for ‘British Vogue’ to convey my personal vision of a woman, I explained that I couldn’t just photograph one single girl, because what I was looking for was a new purpose, and new feminine determination.
Margaret Thatcher was in my year, and our first-year college photograph shows us standing side by side in the back row. We were both grammar school girls on state scholarships.
I got a lot of flak originally for writing with photographs, because the great cliche in photography is that one photograph is worth a thousand words, and photographers are usually dodo birds anyway.
A lot of the children I photograph are extremely colorfully dressed in some way. But I also find a lot of kids with outsized personalities or who happen to be doing something charming.
I look like that in the morning: my hair’s all greasy – it’s not, ‘Hey, look at the babe of the band!’ I hate that kind of thing, the way women are always pushed forward as beauties… it’s very easy: you can make the ugliest pig look lovely in a photograph.
One of the workshop participants had shown me a single 8 X 10 photograph of a power plant where he actually was the general manager of this power cooperative. It was quite magical to me.
A lot of the images I use are already out there in the public or in the news. I just steal them or photograph them or repaint them, so they’ve already been talked about, already been consumed.
Well, there’s that girl on the Internet – although this isn’t an example of someone who doesn’t know they’re on – but there’s a girl on the Internet who posts one photograph every two minutes from her bedroom.
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.
A photograph is a secret about a secret. The more it tells you the less you know.
For me, documentary photography has always come with great responsibility. Not just to tell the story honestly and with empathy, but also to make sure the right people hear it. When you photograph somebody who is in pain or discomfort, they trust you to make sure the images will act as their advocate.
In almost every photograph I have ever made, there is something I would do to complete it. I take that to be the spirit hole or the deliberate mistake that’s in a Navajo rug to not be godlike, but to be human.
Real people move, they bear with them the element of time. It is this fourth dimension of people that I try to capture in a photograph.
It’s always weird doing love scenes. And the thing is, you can’t really photograph two people kissing naturally, because then you wouldn’t be able to see anything.
I don’t think that there’s anything that we shouldn’t be allowed to photograph, really, unless there’s something that’s really deeply harmful to the subject in the photograph.
I’ve hardly taken a photograph since 1967.
I enjoy nothing more than spending time with my loved ones, young and old, and at least once a year we get together for a formal family photograph.
A documentary photograph is not a factual photograph.
A woman can be very beautiful and an ideal model and she will photograph incredibly well, but she’ll appear in film and it won’t work. What works is some fusion of physical beauty with some mental field or whatever you call it. I don’t know.
Has one hostage from Lebanon come back with a photograph of his abductors? Has any hostage ever come back with a photograph of his abductors smiling? I mean, this was so incredible!
As a child, people were always trying to photograph and film me because it’s a way for a shy person to find themselves.
Noise does not disturb me, as I think that it gives a quaint atmosphere to a picture that fully matches my vision of nature and the wild species I like to photograph.
I tend to always carry a camera with me. I live next to a fire station, and I’ve got lots of photos of the hook and ladder coming out of the house. And I like food, so I tend to photograph wonderfully presented food all the time. To me those are very pleasant memories.
If I’m in a restaurant, and someone recognizes me and asks for a signature or a photograph after a drink, that’s good for me as an actor.
I often photograph something as if the subject matter was realistic, but it is actually a fantasy.
When I decided to become an actor, I realised that every role that we play on screen requires a different kind of prep. I learnt wrestling for ‘Dangal,’ went through an emotional grind for ‘Photograph’ and stepped out of my comfort zone and shed too many inhibitions for ‘Pataakha.’
I feel I’m a strange mixture of insecurity and strength. Most of us, probably most people. I’m transferring that same concept to the people I photograph.
You always want to come back with an image that’s interesting visually, and you hope to get something from the person you photograph that’s different than other images you know of these people.
It’s weird: people used to want your autograph; now what they want to do is to take your photograph with an iPhone. And sometimes they’ll pop their arm around you to hold their iPhone; they’re shaking when they take it.
Something happens between a novel and its reader which is similar to the process of developing photographs, the way they did it before the digital age. The photograph, as it was printed in the darkroom, became visible bit by bit. As you read your way through a novel, the same chemical process takes place.
A selfie, like any photograph, interrupts experience to mark the moment. In this, it shares something with all the other ways we break up our day: when we text during class, in meetings, at the theater, at dinners with friends.
You’ll reach into your wallet to brandish a photograph of a new puppy, and a friend will say, ‘Oh, no – not pictures.’
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.
I saw a photograph of a wedding conducted by Reverend Moon of the Unification Church. I wanted to understand this event, and the only way to understand it was to write about it.
I love taking photos of all of my family, but Harper is really cute to photograph, and my brother Romeo because of his shaved head. Cruz is just cheeky, so it’s always fun to get a picture of him, too.
You have to kind of be invisible when you photograph children, so you use a longer lens.
You open a section of ‘The New York Times,’ and there’s a review or a story on a choreographer or a dancer, and there’s an informative, clear image of a dancer. This is, in my view, not an interesting photograph.
This stupid celebrity thing is just a consequence of being good at what you do. I mean, no one would photograph David Beckham if he wasn’t the best attacking midfielder in the country – much as I hate Man. U!
In my work, as a writer, I only photograph, in words, what I see.
I don’t do press for the sake of press. I tend to only be in the press when I’m introducing something or collaborating on something or whatever it may be, as opposed to inviting someone into my home to photograph my closet for no particular reason.
I’m inspired by art – in whatever form it takes. I love when I see a painting or a photograph that captures my attention.
I have to stay in shape for the physical endeavour stunts I do. I work out a lot. I have a personal trainer. I go two or three times a week. I’m on a diet where I photograph everything I eat and send it to her.
If you are truly successful in capturing the pulse of life, then you can speak of a good photograph.
A photograph can be an instant of life captured for eternity that will never cease looking back at you.
If I knew what the photograph was going to look like, I wouldn’t bother taking it. It’s the voyage of discovery that fascinates me.
During prom season, I travel around the country with a 20-by-24 camera – which is logistically complicated – and photograph proms. My husband made a film of it.
In the day, I wear mascara and tinted moisturiser – although I’ve learnt that if I’m getting my photograph taken, it’s better to apply more; otherwise, I look really, really tired.
I don’t know what my formula is. I only know I like my characters to walk in clouds. I like a little bit of the fairy tale. Let others photograph the ugliness of the world. I don’t want to distress people.
Everything has the potential to be extraordinary, whether an old photograph, a book or a life. If you find it ordinary, you simply need to take a closer look.
A good daguerreotype was as perfect a kind of photograph as was ever made.
I’m trying to photograph an old offshore oil city that is lying in decay in the Caspian Sea, but I’ve been having a hard time getting there.
I would die if I had to be confined. I don’t want to feel that I’m missing out on experiencing as much as I can. For me, experiencing is knowing people all over the world and being able to photograph.
