I never take photographs myself. I don’t feel like a photographer, more like a recycler
It’s a very weird thing being a photographer.
It's not how a photographer looks at the world that is important. It's their intimate relationship with it.
And one has to remember that no photography can pretend to show the truth. A picture only shows a given situation under a very specific perspective, consciously or not, openly or not, relevantly or not. Photographers have to accept they can just convey fragments of illusory realities and relate their own intimate experience of the world. In this process of fictionalising an unreachable truth, it's up to them to impose their doubts about any photographic truth, or accept being impotent pawns in the mediatic game.
I'm kind of a walking photographer, i love exploring new places. One day I was taking a break during an excursion in the Broceliande forest, looking for the best place to settle, when I discovered a small clearing with a tree without leaves. I stayed for hours looking around, taking some pictures and I found Le Coq lying down under the tree. The tree's branches were rising as if to touch the sky.
I never considered myself a good photographer. I still don't. I thought of myself as a hard worker. My camera was a sponge and I had an instinct that athletes have - anticipation. Photography really represents an enormous amount of anticipation - understanding what might be there the next moment and being prepared for it.
If you look at the greatest models, it was because they were muses to photographers. They collaborated with the artist and they created the kind of images that become iconic.
A girl's career today doesn't have the same kind of life span, whereas it used to be a collaboration and a partnership and it continued. Peter Lindbergh still uses girls - like, look at Amber Valetta - so there are some photographers that have relationships long-term with models. I also think that the industry can't support the amount of models that exist right now and therefore the relationships between photographers and models and even the clients is short lived.
Natural talent means to have the ability to transform, to evolve, to play and role-play with the photographer and the stylist. And really be an actress rather than just a mannequin. So that involves a tremendous amount of confidence and your ability to expose yourself to anything that will make a better photograph.
I'm flattered by the offers I receive, but there's no real strategy to the way I choose what to do these days. If I'm in a good mood and have the time, I'm more likely to consider it. Often the photographer and team are important factors, too.
I love photography and I love the art of photography. So when I'm working with high-level art photographers, I give them artistic freedom because I want that for myself when it's my turn to do my work and I never try and control it or say I'll only do this or I want it like that.
Photography is not easy. You know it takes a painter or a sculpture or a musician years to perfect their technique. Then they're free to make an expression in a matter of moments. It takes moments for a photographer to perfect his technique. And then it takes years for him to make it into something that is truly creative and worthwhile.
No photographer is better than the simplest of cameras
The Chicago City News Bureau was a tripwire for all the newspapers in town when I was there, and there were five papers, I think. We were out all the time around the clock and every time we came across a really juicy murder or scandal or whatever, they'd send the big time reporters and photographers, otherwise they'd run our stories. So that's what I was doing, and I was going to university at the same time.
One day's exposure to mountains is better than cartloads of books. See how willingly Nature poses herself upon photographers' plates. No earthly chemicals are so sensitive as those of the human soul.
I'm a big fan of Henri Cartier-Bresson, the French photographer who had that whole "decisive moment" approach to taking pictures, of having multiple elements line up within the frame.
We don't have only two eyes; we have hundreds of wonderful eyes, because there are hundreds of wonderful photographers!
Teachers don't work in the summer, and photographers don't shoot in in the middle of the day.
The state of mind of the photographer creating is a blank. I might add that this condition exists only at special times, namely when looking for pictures. -Something keeps him from falling off curbs, down open manholes, into bumpers of skidding trucks while in this condition but goes off duty at other times. . . . This is a very special kind of blank. A very active state of mind really, it is a very receptive state. . .
...insight, vision, moments of revelation. During those rare moments something overtakes the man and he becomes the tool of a greater Force; the servant of, willing or unwilling depending on his degree of awakeness. The photograph, then, is a message more than a mirror, and the mans a messenger who happens to be a photographer.
Two of the most frustrated trades are dentists and photographers - dentists because they want to be doctors, and photographers because they want to be painters.
Well, I'm not going to get into that. I think that those kind of distinctions and lists of titles like "street photographer" are so stupid. I'm a photographer, a still photographer. That's it.
The photographer who attempts to fit happily into the world by using the traditional perspective of the camera will end up falling into the hole of the "idea" he has dug for himself.
Photographers don't need to be aggressive. Some are. Henry Benson is aggressive - but then he's from Fleet Street. If you can talk to people, you don't need to push people around.
To become a photographer leave your house first.
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