[Photography] can be tiny, on your phone, or it can be a billboard, or a film-sized projection, or printed in a magazine. I don't think we've been in a time before when so much photography is available in so many formats, when everybody is a photographer.
If it had anything to do with the PC or networking industry I was on top of it. I bought manuals. I read every book and magazine. Then I would get involved with industry conferences and put myself out there.
I realized that what I was saying was threatening, somehow, to the editors of women's magazines. That it threatened the very world they were trying to paint, what I then called the "feminine mystique."
The Pagan model of religion because, in the Pagan model, there were lots and lots of Gods and Goddesses. They were all incredibly beautiful and there were statues of them everywhere, which is the equivalent of magazines, or whatever, today. And they were fallible, which is different from being mono-, you know, Jewish or Islam (where) you have the infallible, monotheistic God.
I never thought I was somebody that would be on the cover of magazines in fashions, wearing fashions. It's like not me. But that is what movie stardom entails.
I don't pay much attention to magazine covers. One day, there'll be slack times in my career. It's unavoidable, because success is temporary. Which is why you have to stay focused on this very taxing job.
It's hard to get into Newsweek because, as more of our former intellectual magazines take on a pop focus, if there's no buzz, there's no interest.
I don't sit down with a goal of writing. I read books or magazines. I watch TV. I go to the doctor. I get on airplanes. I live a normal life and sometimes I'll notice something or read things or experience things.
The magazine at the health food store said, Stop Aging! Isn't that what death is for? Trust me, we're all gonna stop aging.
I am powerless against the great magazines - I am an artist, and I will always be that.
To an ever greater extent out experience is governed by pictures, pictures in newspapers and magazines, on television and in the cinema. Next to these pictures firsthand experience begins to retreat, to seem more and more trivial. While it once seemed that pictures had the function of interpreting reality, it now seems they have usurped it. It therefore becomes imperative to understand the picture itself, not in order to uncover a lost reality, but to determine how a picture becomes a signifying structure of its own accord.
...in the theatre the stage keeps the audience aware of the fictional nature of the action. The reader poring over a magazine, on the other hand, identifies what he sees in the photographs as real.
We're so conditioned to the syntax of the camera that we don't realize that we are running on only half the visual alphabet... It's what we see every day in the magazines, on billboards and even on television. All those images are being produced basically the same way, through a lens and a camera. I'm saying there are many, many other ways to produce photographic imagery, and I would imagine that a lot of them have yet to be explored.
For years my only purpose was to do documentary photos for magazines, without any idea that they were part of a larger project. It was as if I were carried along by a stream - even though I believed that the current was taking me in the right direction.
The flood of photos sweeps away the dams of memory. Never before has a period known so little about itself. In the hands of the ruling society, the invention of illustrated magazines is one of the most powerful means of organizing a strike against understanding... The 'image-idea' drives away the idea.
In fact, I probably learned more about photography from studying black-and-white photography in those magazines [Look Magazine and LIFE Magazine] than I did from watching movies here. That's the truth.
When I started graduate school we did this publishing class where we learned about submitting and read interviews with editors from different magazines. A lot of them said they got so many submissions that unless the first page stuck out or the first paragraph or even the first sentence they'll probably send it back. So part of my idea was that if I have a really good first sentence maybe they'll read on a bit further. At least half, maybe more of the stories in Knockemstiff started with the first sentence; I got it down then went from there.
I always revise when I publish in a book. So versions in magazines are sometimes slightly different.
It's very complicated. There's been this broader mechanism, an industry, which wants people to use free services, from the old days of advertising-supported papers and magazines, to ad-supported free television.
I think training your instinct comes from writing and reading. There's no big secret. And reading slush helps, as well; I'd recommend everyone edit a literary magazine at some point. It's time-consuming, but there's a lot to learn from other writers who are also learning. The patterns (twelve stories about whales in this batch?) are also interesting.
The funny thing is that some reviews are published in magazines and websites that are seen by millions of people, and other reviews are in very small publications or less popular websites, and you just have to be lucky to have the good reviews land in places where more people see them, and bad reviews land in places where they will be less seen.
While poetry was less professionalized than it is now, I still had this urge to win prizes and see my work in magazines, to get an "A," as though poetry could be graded. I wish I had been more patient and less frantic about getting published.
A People Magazine article in 1982 referred to him as the late Abe Vigoda. The very-much-alive Vigoda placed an ad in Variety with him in a coffin holding a copy of People Magazine.
I don't read the "letters" section of Time magazine. I think it's just my habit as a reader. I don't read comments on stories, in general.
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