A completely disrespectful photographer was asked to stop taking photographs, and then said, 'I've got what I want. What are you going to do about it?' How would you feel if somebody walked up and started taking your photograph? I don't think you'd be very happy.
I like to be fascinated by the people I photograph. Sometimes I don't admire them but I'm interested in them.
Take a random selection of photographs of America in 2012 and 2002 and 1992 and, except for the skinny jeans and the porkpie hats, you'll be hard-pressed to tell the years in which the pictures were taken.
Above all, I craved to seize the whole essence, in the confines of one single photograph, of some situation that was in the process of unrolling itself before my eyes.
Some people, myself in particular, have an adversarial relationship with the camera, and it sprouts up in every photograph.
In the Soviet Union it was illegal to take a photograph of a train station. Look what happened to them. They tried to classify everything.
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.
A photograph doesn't gain weight or lose weight, or change from being happy to being sad. It's frozen. You can use it, then recycle it.
I never thought I was particularly good looking. But when I see old photographs, I realise that I was. I do wish I had known that at the time because beauty is power. I didn't realise how lucky I was to be young, beautiful and in Hollywood. It didn't hit me. Every day I woke up, went to the film studio and just got on with it.
People believe that photographs are true and therefore cannot be art.
My family were symphonic musicians and in the opera. Also, it was my era, the love of radio. We used to listen to the radio at night, close our eyes and see movies far more beautiful than you can photograph.
For me, nothing brings out my 'born yesterday' idiotic qualities quite like having my photograph taken.
Whatever precautions you take so the photograph will look like this or that, there comes a moment when the photograph surprises you. It is the other's gaze that wins out and decides.
If I feel confident wearing something, I think it translates in photographs. It changes my demeanor and posture.
I hate red carpet photographs!
I paint mostly from real life. It has to start with that. Real people, real street scenes, behind the curtain scenes, live models, paintings, photographs, staged setups, architecture, grids, graphic design. Whatever it takes to make it work.
No journalist has ever been in my house and no photographs have ever been taken of where I live. I don't parade my family out for display, which is the way it will stay.
When it comes to partnership, some humans can make their lives alone - it's possible. But creatively, it's more like painting: you can't just use the same colours in every painting. It's just not an option. You can't take the same photograph every time and live with art forms with no differences.
I gave up my struggle with perfection a long time ago. That is a concept I don't find very interesting anymore. Everyone just wants to look good in the photographs. I think that is where some of the pressure comes from. Be happy. Be yourself, the day is about a lot more.
Photographs aren't accounts of scrutiny. The shutter is open for a fraction of a second.
The photograph isn't good enough. It's not real enough.
I can often tell when drawings are done from photographs, because you can tell what they miss out, what the camera misses out: usually weight and volume - there's a flatness to them.
I made a photograph of a garden in Kyoto, the Zen garden, which is a rectangle. But a photograph taken from any one point will not show, well it shows a rectangle, but not with ninety degree angles.
A theory is no more like a fact than a photograph is like a person.
No, I do a bunch of things to entertain myself. I paint, I make music, I take photographs.
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