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Photography is a small voice, at best, but sometimes one photograph, or a group of them, can lure our sense of awareness.
W. Eugene Smith
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 camera can photograph thought.
I find that my entire life has come to me, and things happened without me planning them. You know, I never asked to photograph Princess Diana, and that made me more famous than I wanted. I never asked to photograph Madonna, and that pushed me to another level. There are things that just take you into the limelight.
What difference does it make whether you're looking at a photograph or looking at a still life in front of you? You still have to look.
I have no intention of flattering people. I like wrinkles and crow's feet and flaws, and somebody should know, if I'm going to photograph them, that's going to show up, you know?
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.
I photograph the things that I do not wish to paint, the things which already have an existence.
I almost never set out to photograph a landscape, nor do I think of my camera as a means of recording a mountain or an animal unless I absolutely need a 'record shot'. My first thought is always of light.
A documentary photograph is not a factual photograph.
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.
You can't see fear or lust; you can't photograph someone's anxieties, how disappointment feels. Photographs are approximations.
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?
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.
Last Friday night, I Twitted a photograph of myself that I intended to send as a direct message as part of a joke to a woman in Seattle. Once I realized I posted to Twitter I panicked, I took it down and said that I had been hacked. I then continued with that story, to stick to that story which was a hugely regrettable mistake.
I think photographs should be provocative and not tell you what you already know. It takes no great powers or magic to reproduce somebody's face in a photograph. The magic is in seeing people in new ways.
I know most of the photographers in Ireland. And if I don't want my photograph taken, they will leave me alone.
I've photographed just about everyone in the world. But what I hope to do is photograph people of accomplishment, not celebrity, and help define the difference once again.
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.
The Photograph is concerned with the power that the past has to interfere with the present: the time bomb in the cupboard.
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.
It is one thing to photograph people. It is another to make others care about them by revealing the core of their humanness.
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?'
What I really try to do is photograph people at rest, in a state of serenity.
The viewer must bring their own view to a photograph.
Martin Luther King, Jr.
C. S. Lewis
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