Quote of the Day
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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.
I know most of the photographers in Ireland. And if I don't want my photograph taken, they will leave me alone.
Like, if you look at Heidi Montag, who got 10 surgeries she didn't need, I think that's unfortunate. I've always been voluptuous with a big butt, but didn't have boobs, so I wanted my body balanced out. My nose was fine in real life, but it didn't photograph well, so I had it tweaked for my line of work. I'm very happy with it.
Recording sessions were stimulating to photograph, because everything was in motion: the subject, the musicians, the technicians and the photographer. You needed fast reflexes to keep up with moving targets, and sensitivity and skill to get the pictures while keeping out of the performers' eyeline so as not to break their concentration.
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.
What I have tried to do is involve the people I was photographing... if they were willing to give, I was willing to photograph.
The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion.
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.
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.
I like to feel that all my best photographs had strong personal visions and that a photograph that doesn't have a personal vision or doesn't communicate emotion fails.
I don't pay attention to celebrities. I don't photograph them. They don't dress so... interestingly. They have stylists. I prefer real women who have their own taste.
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.
There is a considerable amount of manipulation in the printmaking from the straight photograph to the finished print. If I do my job correctly that shouldn't be visible at all, it should be transparent.
The Photograph is concerned with the power that the past has to interfere with the present: the time bomb in the cupboard.
Photography obviously lends itself so well towards fashion. It's capturing that moment and that inspiration, and as a designer you are constantly walking through the world assimilating those visual references you have and so being able to solidify that into a photograph and keep it on your mood board is essential to creating a collection.
There's no more film. Film is gone. We photograph digitally and electronically. We don't really use film the same way anymore - it's disappearing little by little. Things change. We have to change with them. There's no point in liking or not liking it. It is what it is.
Art work is inconclusive. It opens your mind up. At least, that's what I hope it does. And advertising, using exactly the same photograph, closes things down. It makes it conclusive. It sells a product, and that is its primary function.
When I have had such men before my camera my whole soul has endeavored to do its duty towards them in recording faithfully the greatness of the inner as well as the features of the outer man. The photograph thus taken has been almost the embodiment of a prayer.
Julia Margaret Cameron
Nothing speaks louder than an evocative photograph that stirs the imagination, tugs at the heart strings and engages the mind.
You can give some kind of spark of life to a comic that a photograph doesn't really have. A photograph, even if it's connecting with you, it seems very dead on the page sometimes.
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 have just one black and white photograph left of my mother when she was younger. She was 17 when it was taken and beautiful with wispy curls and eyes that shone like dark marbles.
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.
The viewer must bring their own view to a photograph.
In some ways, I feel like the strength of animation is in its simplicity and caricature, and in reduction. It's like an Al Hirschfeld caricature, where he'll use, like, three lines, and he'll capture the likeness of someone so strongly that it looks more like them than a photograph. I think animation has that same power of reduction.
John F. Kennedy
Martin Luther King, Jr.
Image of the Moment
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