I never thought of being a performer, never thought of being a singer, never thought of being a photographer. It's just the trajectory of my work. I go to the medium that serves the vision.
I was a photographer first.I worked alone. I did it my way as much as I could. I have been sort of courageous about doing things, because I didn't think I should do less than my brothers.
Some photographers shoot hundreds of pictures in a row and you need to be able to move from pose to pose very quickly while trying to make it look effortless.
I'm a photographer and my pictures are used in advertising campaigns. But I don't do advertising. Do you hear me? I take pictures. I'm not an advertising agency. I'm not an advertising man.
I admire photographers who can take much more ordinarily subject matter and make it transcend that ordinariness, so that it becomes something else fresh and new. It opens this doorway. I really admire people who can do that with photography.
I started photography more or less by accident when I was already 27. I was taken on as an assistant by a photographer who was a friend of a friend and I very quickly understood the potential of expression in photography.
I believe that the source of your inspiration is very important. I sometimes see this problem with photographers, even very good ones, who have drawn too much inspiration from photography and who, over time, have a problem forming their own identity.
A photographer is a photographer and an artist is an artist. I don't believe in labels or titles. Why should a painter or sculptor who has probably never challenged the rules be an artist just because his title and an art school education automatically make him one.
The weirdest thing to me is that magazines would never do this for their writers. They would never hire a writer who writes for another magazine; they want to have their own stable of writers. Newsweek would never hire a TIME writer, and TIME would never hire a Newsweek writer - but they would both hire the same photographer to shoot a cover for them.
A lot of the challenge and the reason for the success of those one-shot photographers is that their pictures almost have to be subject proof. Because you usually only have a few minutes with the person. You never know who's going to walk into the room - whether they're going to be friendly, grumpy, sick of photographers, or between meetings.
Normally I do all my own post work. It's not that I do it better than anyone else, I just do it my way. I make decisions. People who print at labs are probably far better printers, but they won't make my decisions mid-process. I don't want to be out of the loop. I want to be a photographer and do all of it.
The photographer, even in fashion and portraiture, has to have a standpoint. It's important to know what you stand for, no? Most people just take pictures but they stand for nothing. They follow trends and don't know why.
I didn't take inspiration from other photographers, which in a way helped to find my own images.
I want to be the toughest photographer in the world.
There is a photographer in every bush, going about like a roaring lion seeking whom he may devour.
And friends of mine that had photography class in high school would develop the film and make prints and I'd take them back to the track and give 'em away or try and sell them. Much to my parents' dismay, I majored in photography in college.
I took a workshop from him a few months after that. That experience changed my whole approach to photography. At that workshop in Yosemite in 1973 I decided I wanted to try and see if I could pursue this for myself, and I'm still trying.
In 1979, I received a phone call from Ansel Adams asking me if I would be willing to consider coming to work for him. I was teaching photography in Southern California at that point.
So when I became interested in photography and further being inspired by the work that I saw of Ansel and others, it was a natural extension to go back to these places that I knew as a kid and explore them with my camera.
The greatest compliment that I know how to pay another photographer is to say, 'I never would have made that photograph myself. I'm sure glad you did.' You hope along the way that maybe, once in a while, you do that for someone else.
To me, photography is 90% a retrospective experience. There's the part of pursuing the image, and exposing the film, but once you make the exposure, you're always looking backwards in time. I like that aspect of photography.
Obviously, we can see what was in front of the camera, but if a photograph is honestly made, it's a bit of a self-portrait. I think it's impossible for a photographer who is working honestly to keep this from happening.
I think one of the aspects of photography that remains for me is I find the process still frustrating. The counter to that is that it's still very exciting. If you didn't have the frustration, you wouldn't have the excitement. If you didn't have the disappointment, you wouldn't have the magical intoxication of this process working.
"It is light that reveals, light that obscures, light that communicates. It is light I "listen" to. The light late in the day has a distinct quality, as it fades toward the darkness of evening. After sunset there is a gentle leaving of the light, the air begins to still, and a quiet descends. I see magic in the quiet light of dusk. I feel quiet, yet intense energy in the natural elements of our habitat. A sense of magic prevails. A sense of mystery. It is a time for contemplation, for listening - a time for making photographs. "
There are two kinds of photographers: those who compose pictures and those who take them. The former work in studios. For the latter, the studio is the world... For them, the ordinary doesn't exist: every thing in life is a source of nourishment.
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