What inspires me still: travel, art, photography, my kids, the places I haven't been to yet.
My passion is to open people's eyes to the sea using the power of photography as a universal language to convince the unconvinced among us that the oceans are fragile and finite.
I try to use photography to move people to action to save the wildlife in our beloved ocean.
We've witnessed so many revolutions in our society. Think of transportation, photography, or communications. Things once unimaginable have become seemingly impossible to live without.
There are many innovators hard at work seeking to perfect alternatives to meat, milk, and eggs. These food products will, like computer-generated graphics or photography or sound systems, just keep getting better and better until there is little difference between an animal-based protein and a plant-based one, or farm-produced versus cultured meat. That will make it easy for people to make the kinds of choices that will usher in a world with far less violence.
When I was younger I used to be really into photography, and I still am, I just don't really get to do it besides taking my own artists photos and stuff like that.
There are people who like photography; there are people who are worrying about what's going to happen with the dollar. They want to get anything that seems hard. I don't know, but I think it's got to do with economics. Now and then you get somebody who buys a picture because he likes it.
[Photography is ] likewise even French impressionists. So the Sculls bought pop. It was politics, and they moved with it. And I think that could be happening, to some degree, with photography, too. It doesn't cost as much to do it, either.
I don't know how to say easily what I learned. One thing I can say I learned is how amazing photography could be.
My only interest in photographing is photography.
You've got a number of things that take place that are peculiar to still photography. One: how a picture looks - what you photograph is responsible for how a photograph looks. In other words, it's responsible for the form.
The contest between form and content is what, is what art is about - it's art history. That's what basically everybody has ever contended with. The problem is uniquely complex in still photography.
If I photograph you I don't have you, I have a photograph of you. It's got its own thing. That's really what photography, still photography, is about.
You know, you get into the business of commercial photography, and that's all you do is photograph what you know. That's what you're hired for.
Something about photography is tied to a very specific relationship with the material world. It doesn't have to be, but the way I practice it, it is. So there's an act of observation, but it's not an act of objective recording. It's about framing something and seeing it and understanding that it's relational.
I do photography and I studied film at school. So I've always really enjoyed that and I've got an eye for camera angles I guess. I've never taken that into filming wildlife.
After the war, photography came alive, in part because everybody started to use the 35mm camera, and worked on the street instead of in a studio, and that made an enormous difference in not only how photographs looked, but what they were about.
Photography and painting, all of that fed into my directing eventually.
I went back to photography in the 1990s. But from the 60s to the 90s I didn't really take any photographs at all, unfortunately. During that period I lived in France, I lived in England, I lived all over the place in different cities. I didn't take any photographs and because I felt I had really accomplished everything that I wanted to in photography during the period between 61 and 67.
I've been a photographer for my whole life and I've done everything with photography that I felt I could do, and I always wanted to be a filmmaker.
I'm a big believer in practical and location photography.
It's shot by Ben Rayner who I think is very talented at doing portrait photography as well as fashion photography. His images never look like a model. You know, it doesn't look like a faceless model just wearing whatever. There's always personality that comes through. That was quite important for me to capture.
My work is very eclectic. I write books that range from writing fiction, writing fable where I am very directly trying to imagine alternate worlds, to writing about [Buckminster] Fuller who was the ultimate world man creating all sorts of alternate worlds and believing that they were imminent to my own work of - for instance, a project that I've been working on for some year and a half, two years now that continues to evolve has been what I call Deep Time Photography.
I think that cinema and television have nothing in common. There is a breaking point between photography and cinema on the one hand and television and virtual reality on the other hand.
I've always thought photography was an art form, but it had very low appreciation in the beginning, except for some Europeans, and of course Stieglitz. Stieglitz always considered photography to be an art form and is the "father" of the creative concepts of the twentieth century.
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