Taking pictures is savoring life intensely, every hundredth of a second.
Personally, I have always preferred inspiration to information.
To see something spectacular and recognise it as a photographic possibility is not making a very big leap. But to see something ordinary, something you’d see every day, and recognize it as a photographic possibility - that is what I am interested in.
My idea of a good picture is one that's in focus and of a famous person.
Light is my inspiration, my paint and brush. It is as vital as the model herself. Profoundly significant, it caresses the essential superlative curves and lines. Light I acknowledge as the energy upon which all life on this planet depends.
As a matter of fact, nearly all the greatest work is being, and has always been done, by those who are following photography for the love of it, and not merely for financial reasons. As the name implies, an amateur is one who works for love.
Available light is any damn light that is available!
A photographic portrait is a picture of someone who knows he's being photographed, and what he does with this knowledge is as much a part of the photograph as what he's wearing or how he looks. He's implicated in what's happening, and he has a certain real power over the result.
A portrait photographer depends upon another person to complete his picture. The subject imagined, which in a sense is me, must be discovered in someone else willing to take part in a fiction he cannot possibly know about.
"Simply look with perceptive eyes at the world about you, and trust to your own reactions and convictions. Ask yourself: "Does this subject move me to feel, think and dream? Can I visualize a print - my own personal statement of what I feel and want to convey - from the subject before me?""
The technique of 35mm photography appears simple. One is beguiled by the quick viewing and operation, and by the very questionable inclination to make many pictures with the hope that some will be good.
To see color as form means looking at the image in a new way, trying to free oneself from absorption in subject matter.
There is nothing as mysterious as a fact clearly described.
Photography has always reminded me of the second child.. trying to prove itself. The fact that it wasn't really considered an art.. that it was considered a craft.. has trapped almost every serious photographer.
A thing is not what you say it is or what you photograph it to be or what you paint it to be or what you sculpt it to be. Words, photographs, paintings, and sculptures are symbols of what you see, think, and feel things to be, but they are not the things themselves.
I feel all things as dynamic events, being, changing, and interacting with each other in space and time even as I photograph them.
A Ming vase can be well-designed and well-made and is beautiful for that reason alone. I don't think this can be true for photography. Unless there is something a little incomplete and a little strange, it will simply look like a copy of something pretty. We won't take an interest in it.
Photography is about light and what it does and how it is captured on a piece of negative.
Mapplethorpe presented the body as a sexual object, separating it from the humanity of the person. He added nothing to photography as a medium. I hold his work in low regard.
The truth is the best picture, the best propaganda.
Photographier: c'est mettre sur la meme ligne de mire la tete, l'oeil et le coeur.
My father was a psycho-analyst and I think that fact was very influential on my development as an artist. Trying to search beneath the surface of things for an unexpected sense of mystery.
The camera can represent flesh so superbly that, if I dared, I would never photograph a figure without asking that figure to take its clothes off.
I became interested in photography when I was sharing a studio with Walker Evans, and found my own sketching was inadequate.
It's not the photographer who makes the picture, but the person being photographed.
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