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I used to not be confident. My father certainly didn't add to my confidence. When I was 17 or 18, I was voted the most beautiful girl in England by the association of press photographers. When they called Daddy for a comment, he said, 'I'm amazed. She's a nice looking girl, but nothing special.'
Photographers usually want to photograph facts and things. But I'm interested in the nature of the thing itself. A photograph of someone sleeping tells me nothing about their dream state; a photograph of a corpse tells me nothing about the nature of death. My work is about my life as an event, and I find myself to be very temporal, transient.
Today, the paparazzi are not just photographers: everyone has a cell phone with a camera. If they see an actor, they click pictures to show it to their friends or have it on their phones and, as an actor, I don't see anything wrong with it. Having said that, there is a limit that has been crossed, but there is nothing right or wrong.
Many photographers feel their client is the subject. My client is a woman in Kansas who reads Vogue. I'm trying to intrigue, stimulate, feed her. My responsibility is to the reader. The severe portrait that is not the greatest joy in the world to the subject may be enormously interesting to the reader.
The great photographers of life - like Diane Arbus and Walker Evans and Robert Frank - all must have had some special quality: a personality of nurturing and non-judgment that frees the subjects to reveal their most intimate reality. It really is what makes a great photographer, every bit as much as understanding composition and lighting.
I wanted to go to acting school, and I did a few modeling jobs to pay for acting school. I never aspired to be a model. I met lots of photographers, and I learned a lot about light - as a source of love and illumination, light as a gift of love. On film, that's a massive contribution.
I have mixed feelings about those sorts of things. When I see it done by interesting young people, I think it's very valid. But when established photographers, people in their forties, copy me and get a lot of money, well, I find that to be very stupid.
With each assignment, I weigh the looming possibility of being killed, and I chastise myself for allowing fear to hinder me. War photographers aren't supposed to get scared.
People of my generation who became photographers in the late fifties, early sixties, there were no rewards in photography. There were no museum shows. Maybe MOMA would show something, or Chicago. There were no galleries. Nobody bought photographs.
A lot of paparazzi wanted to be real photographers but they failed, and they did that instead, and it's not right; it's stalking.
What's been important with Flickr is the community that's been there from the beginning and the serious photographers that are there creating and sharing great content. If we lose that at some point then I think we have potential issues, but so far we've been able to do a really good job of maintaining that.
I believe in equality for everyone, except reporters and photographers.
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.
We look at the world and see what we have learned to believe is there. We have been conditioned to expect... but, as photographers, we must learn to relax our beliefs.
I was raised around a lot of artists, musicians, photographers, painters and people that were in theater. Just having the art-communal hippie experience as a child, there wasn't a clear line that was drawn. We celebrated creative experience and creative expression. We didn't try and curtail it and stunt any of that kind of growth.
My mountaineering skills are not important to my best photographs, but they do add a component to my work that is definitely a bit different than that of most photographers.
Like most photographers, I try to capture a moment in my work.
Unfortunately, the greatest photographers don't pay extreme attention to the clothes. If they decide to put a dress in a bathtub or in front of a cow in the countryside with dirt everywhere, well, the dresses come back... ready to be put in the garbage.
I believe Photoshop is in some way the contemporary darkroom, the creative area that all photographers have available today.
Camera lies all the time. It's all it does is lie, because when you choose this moment instead of this moment, when you... the moment you've made a choice, you're lying about something larger. 'Lying' is an ugly word. I don't mean lying. But any artist picks and chooses what they want to paint or write about or say. Photographers are the same.
Most photographers work best alone, myself included.
I get photographers hiding in my bushes. We're way past autographs. We're into being stalked and followed.
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.
Fine artists reflect, and then they act. Fashion photographers - we act, and then we reflect.
Most photographers would feel a certain embarrassment in admitting publicly that they carried within them a sense of wonder, yet without it they would not produce the work they do, whatever their particular field.
Photographers must learn not to be ashamed to have their photographs look like photographs.
A. P. J. Abdul Kalam
Martin Luther King, Jr.
Image of the Moment
Procrastination is the art of keeping up with yesterday.
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