I do believe strongly in photography and hope by following it intuitively that when the photographs are looked at they will touch the spirit in people.
There's a kind of power thing about the camera. I mean everyone knows you've got some edge. You're carrying some magic which does something to them. It fixes them in a way.
Be aware of every square millimeter of your frame.
If you can capture the element of surprise, you're way ahead of the game.
I don't see light as something that falls, but as a positive force.
As people, we love pattern. But interrupted pattern is more interesting.
Never put lettering in your photos unless you want it read.
I'm a New Yorker. I don't believe in air unless I can see it.
Timothy O'Sullivan was, it seems to me, the greatest of the photographers because he understood nature first as architecture.
A photograph is not an accident - it is a concept.
If each photograph steals a bit of the soul, isn't it possible that I give up pieces of mine every time I take a picture?
The pictures have a reality for me that the people don't. It is through the photographs that I know them.
The photographer’s vision convinces us to the degree that the photographer hides his hand.
A picture should be looked at - not talked about.
The camera is my tool. Through it I give a reason to everything around me.
At our best and most fortunate we make pictures because of what stands before our camera, to honor what is greater and more interesting than we are. We never accomplish this perfectly, though in return we are given something perfect--a sense of inclusion. Our subject thus redefines us, and is part of the biography by which we want to be known.
All dancers are, by and large, a photographer's dream. They communicate with their bodies and they are trained to be completely responsive to a collaborative situation.
I looked through a lens and ended up abandoning everything else.
When I was just starting out, I met Cartier-Bresson. He wasn't young in age but, in his mind, he was the youngest person I'd ever met. He told me it was necessary to trust my instincts, be inside my work, and set aside my ego. In the end, my photography turned out very different to his, but I believe we were coming from the same place.
For me, art is such a wide concept - anything can be art.
Anything is an art if you do it at the level of an art.
What I want is the world to remember the problems and the people I photograph. What I want is to create a discussion about what is happening around the world and to provoke some debate with these pictures. Nothing more than this. I don't want people to look at them and appreciate the light and the palate of tones. I want them to look inside and see what the pictures represent, and the kind of people I photograph.
I try with my pictures to raise a question, to provoke a debate, so that we can discuss problems together and come up with solutions.
Twentieth-century art has allowed me to see things in a cryptic way. I love the butterfly's wings, which disappear when folded and when open leave this brilliant, intense pronouncement of nature, 'Here I am.'
Before you shoot an irresistible subject, mute all your senses except sight to find out how much is left for the camera to record.
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