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A family's photograph album is generally about the extended family and, often, is all that remains of it.
A photograph is always invisible, it is not it that we see.
I made a photograph of a garden in Kyoto, the Zen garden, which is a rectangle. But a photograph taken from any one point will not show, well it shows a rectangle, but not with ninety degree angles.
I fight to take a good photograph every single time.
Wherever there is light, one can photograph.
Above all, I craved to seize the whole essence, in the confines of one single photograph, of some situation that was in the process of unrolling itself before my eyes.
If I went to somewhere busy, I wouldn't last very long. I can't go to a museum - I'll last 10 or 15 minutes in a museum. The problem is that when one person asks for a photograph, then someone sees a flash goes off, then everyone else sort of... it's sort of like a domino effect.
To photograph is to confer importance.
I like to be fascinated by the people I photograph. Sometimes I don't admire them but I'm interested in them.
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.
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.
Anything that excites me for any reason, I will photograph; not searching for unusual subject matter, but making the commonplace unusual.
I'm a huge, huge fan of photography. I have a small photography collection. As soon as I started to make some money, I bought my very first photograph: an Henri Cartier-Bresson. Then I bought a Robert Frank.
It is not altogether wrong to say that there is no such thing as a bad photograph - only less interesting, less relevant, less mysterious ones.
Why in the world would anyone want to photograph an old woman like me?
I have been criticized a lot for not looking perfect in every photograph. I'm not embarrassed about it. I'm proud of it. If I took perfect pictures all the time, the people standing in the room with me, or on the carpet, would think, 'What an actress! What a faker!'
As much as I'm not a journalist, I use journalism. And when you photograph a relationship, it's quite wonderful to let something unfold in front of you.
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.
For me, nothing brings out my 'born yesterday' idiotic qualities quite like having my photograph taken.
Unlike any other visual image, a photograph is not a rendering, an imitation or an interpretation of its subject, but actually a trace of it. No painting or drawing, however naturalist, belongs to its subject in the way that a photograph does.
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.
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 don't even know what an 'It' girl is. As far as I'm concerned, an 'It' girl is somebody who doesn't do anything except go to parties and get her photograph taken.
We are only beginning to learn what to say in a photograph. The world we live in is a succession of fleeting moments, any one of which might say something significant.
It is not enough to photograph the obviously picturesque.
C. S. Lewis
Leonardo da Vinci
Martin Luther King, Jr.
A. P. J. Abdul Kalam
Image of the Moment
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