Quote of the Day
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.
Like most photographers, I try to capture a moment in my work.
Photographers deal in things which are continually vanishing and when they have vanished there is no contrivance on earth which can make them come back again.
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.
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.'
Those who want to be serious photographers, you're really going to have to edit your work. You're going to have to understand what you're doing. You're going to have to not just shoot, shoot, shoot. To stop and look at your work is the most important thing you can do.
Fine artists reflect, and then they act. Fashion photographers - we act, and then we reflect.
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.
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.
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.
When I see old photos of me on the beach I don't look too bad... but it's hard trying to breathe in for such a long time when I spot the photographers!
Smiles come naturally to me, but I started thinking of them as an art form at my command. I studied all the time. I looked at magazines, I'd practice in front of the mirror and I'd ask photographers about the best angles. I can now pull out a smile at will.
We photographers deal in things which are continually vanishing, and when they have vanished there is no contrivance on earth can make them come back again. We cannot develop and print a memory.
It was like two different photographers, and shot in three different locations and it was really fun to do. There were 12 beautiful girls in it. It was great.
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.
Rumors sound of galleries asking artists for upsized art and more of it. I've heard of photographers asked to print larger to increase the wall power and salability of their work. Everything winds up set to maximum in order to feed the beast.
My relationships with producers or photographers - these are relationships that took years.
I feed on other people's creativity, photographers, artists of every kind. Sometimes a feeling that you get listening to a song can be so powerful. I've wanted to write whole scripts around what I felt just listening to a piece of music. I think music is important, and surrounding your visual field with stimulating things.
I admired the work of photographers like Beaton, Penn, and Avedon as much as I respected the grittier photographers such as Robert Frank. But in the same way that I had to find my own way of reportage, I had to find my own form of glamour.
Even in the nineties, when it was mad and there were photographers all around the house, it never occurred to me to send someone else out to get cigarettes. It took me five minutes - went for a walk, gave a wave, went back inside.
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 am a big fan of photography, more of being behind the camera - so when I get the opportunity to work with such great photographers, I always try and learn from their technique.
I get photographers hiding in my bushes. We're way past autographs. We're into being stalked and followed.
I know most of the photographers in Ireland. And if I don't want my photograph taken, they will leave me alone.
John F. Kennedy
C. S. Lewis
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