Because I'm interested in depiction, representation, therefore you're interested in photography. You don't ignore it.
Modernism in a way, early modernism, for instance, in pictures, was turning against perspective and Europe. And all early modernism is actually from out of Europe, when you think of cubism is African, is looking at Africa, Matisse is looking at the arabesque, Oceania. Europe was the optical projection that had become photography, that had become film, that became television and it conquered the world.
Polaroid, you know, goes against everything that photography is now. You can't make multiples. Only one exists. I love that. By the way, while we've been talking I've now seen a total of three people I know walking on 8th street.
As a teenager, I loved acting, painting, photography, and making films with my friend's Super 8 camera. But I always loved writing the best. I chose writing even before I knew poetry was available to me.
That's one of the wonderful things about the whole process of photography - eye contact can be very revealing.
My biggest challenge was moving from photography to film without losing my way of working - which is very intimate and learning to collaborate with more people, since photography for me is a very solitary process.
I think that's what the war photography did for me. It showed me the human side of people and how certain circumstances can change people's lives.
I'm shooting a gangbanger, but as a dignified man. That's pretty much what war photography did: seeing images of soldiers in a dignified way. They might have been killers in Vietnam, but I'm seeing another side of them, and looking at images of the the American soldiers, also the North Vietnamese and the Viet Cong - I never saw an enemy.
I think that photography has allowed me to have a voice. I used to stutter, and once I overcame that struggle, it felt good to tell people they were beautiful and special.
Photography is humbling, it really is, and it really allows for me to atone for some of the missteps I've made throughout the course of my life.
There was a time in my life that I may not have been that nice, and now I'm in a position to contribute to the education of young people, and teach them to be compassionate, be more loving, more caring, to not use profanity, to not pollute the environment - these are things that I address in my photography. I
From a literary standpoint, I've been loving Raymond Carver's short stories, William Carlos Williams' poems, Richard Siken's 'Crush', John Fante, and Jim Harrison's book of ghazals. I love film and photography too, so many of my songs are very image rich from those influences.
Just someone trying to shoot in 70mm deserves the nomination, and he[Quentin Tarantino] is shooting interiors, like tight interior shots, for that matter. Obviously [Quentin] is the director and demanding the shots, but all credit for the beauty of that film [Hateful Eight] goes to the director of photography.
There is more in art, with an apology to that much abused word, as applied to photography, than startling display lines, on mounts and signs announcing artist Photographer, Artistic Photography Studio, etc., and the lower the standard the more frantic the claim.
And even being in the middle of it, at the LVMH group with Dior, there are certain parts of it that I'm just not really in, because it's not in me or my nature. The whole scene around it, the events, the photography ... It's never really been my thing. But I don't take a critical position on people who are very much about that either.
I had no real photography experience, thankfully. I consciously took a lot of crowd shots. I was influenced by Seattle photographer Charles Peterson, who always seemed to incorporate fans in his live band shots.
Photography and movies are a much bigger influence on me than music is itself.
I've been into photography for years and I do it as often as possible. I'm just trying to develop myself.
Photographers have already photographed everything too many times, except cheese.
If there is a single factor which separates the best photographers from the wannabes it is the quantity of images which they produce. They seem to be forever shooting. I have watched many of them as they take picture after picture even when they are not photographing. [...] Often these intimate images do not look as though they were taken by the same photographer. And that is their fascination and charm.
I seem to walk in the world as two people. The normal everyday-me is as preoccupied, unobservant and oblivious to visual clues as I ever was. Then there is the photographer-me, the one who has a camera in hand and a specific project in mind, and then the world suddenly jumps to life with potential pictures, as if a switch had been thrown in my brain and a different person is looking out of the same eyes.
I think probably something big can be done with cameras, I'm not saying, er, I'm saying chemical photography's finished, that means you can't have a Cartier Bresson again, you need never believe pictures.
This is life. It is everywhere, and it is here for the taking. I am alive and I know this, now, in a more profound way than when I am doing anything else. These sights are ephemeral, fleeting treasures that have been offered to me and to me alone. No other person in the history of the world, anywhere in all of time and space, has been granted this gift to be here in my place. And I am privileged, through the camera, to take this moment away with me. That is why I photograph.
Evolution in action: First, God said, 'Let there be light.' Then, he created two nude models. Now we have photographers.
I appreciate photographs which celebrate harmony. I don't particularly want to look at chaos. I see enough of that at home.
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