I love it when a photographer lets me create my own movement and feeling to the images. By that I mean he doesn't restrict me in his or her own ideas but rather gives me a direction and lets me work within those boundaries freely.
Each photographer has their own vibe and presence that they bring to their shoots. Steven Meisel is a teacher. He teaches everyone on set something about their craft. He has an amazing way to bring out everyone's best in themselves.
In order to be a successful Photographer, you must possess both Vision and Focus neither of which have anything to do with your eyes
For a feature in next month's issue of Prog magazine, the photographer spent many hours setting up a photo shoot of me with part of my music collection in my writing office. Since I do most of my writing outside in nature, we felt this shot was most representative.
Twitter makes you a comedian in the same way that digital cameras make you a photographer
I know my idea of beauty isn't what most people's is, and the fact that I'm getting the opportunity to show my beauty and work with incredible photographers that actually take me out of my comfort zone and allow me to see myself through their work in a different way - it's a real honor.
I have known know many therapists who come out of Pacifica Graduate Institute and love being both artists and therapists at the same time, like Maureen Murdock. They are photographers and dancers and other kinds of things and therapists at the same time. I think it really makes them a much more interesting therapist because they're so engaged with the imagination and the creativity and the depths of who they are.
Everybody can take a good picture. Everybody is interesting. Everyone has an interesting face. Some people are more difficult or more nervous or more tired. When you do a movie, you have action, you're talking, you're moving. You don't see the camera. Taking a picture with a photographer, you don't talk, it's more difficult than in a movie for your body to relax, to be yourself.
I've had my body manipulated so many different times for so many different reasons, whether it's paparazzi photographers or for film posters.
I'm not a photographer, so I didn't get into F-stops or ND filters or background, foreground, cross-light, all that stuff. But I was interested in the camera and the lenses. That's the world that I'm moving in, in terms of acting and giving a performance.
Upgrade your user, not your product. Value is less about the stuff and more about the stuff the stuff enables. Don't build better cameras - build better photographers.
In a way, it's like the photographer always has his vision of me. The pictures that I'm known for are not really my image, they're always the photographer's vision of me. I can look a hundred different ways, but what people see of me in pictures is not really my image.
There's this way that photography is always about going out searching. I'm not the kind of a photographer who can photograph my home.
When you're a well-known fashion photographer, modeling agencies call constantly. They'll say, This great girl is in town for three days. She's excellent, she's exciting. You've got to see her... So I decided to really have a look at them. I opened up my studio and said, Send anyone... And I became quite addicted to the whole thing. I was curious to see how many girls would come. I couldn't believe that there really were so many around.
I don't care about fashion at all. And I know it's kind of a dodgy thing to be a fashion photographer, a kind of pathetic occupation, but I like it, even though I question it.
Like most photographers, I try to capture a moment in my work.
I have a really hard time stepping out of a limousine and confronting a sh*tload of photographers who are all screaming at you, because it's like saying, 'yeah, yeah, here I am!'
I believe that... my first successes in my out-of-focus pictures were a fluke. That is to say, that when focusing and coming to something which, to my eye, was very beautiful, I stopped there instead of screwing on the lens to the more definite focus which all other photographers insist upon...
I certainly don't mean to suggest that all investigative journalism prior to 9/11 in the US was praiseworthy. But there were more examples to which one could point, and there were at last some activist photographers who understood that getting information into the public sphere in spite of military censorship was a right and obligation within democracy. That strain in war journalism did nearly vanish during that time.
Through a portrait, we can potentially see everything - the history and depth of a person's life, as well as evidence of a primal universal presence. I have dedicated my life and creative energy to capturing these transcendent moments in which a connection is made between the subject, the photographer, and the viewer.
...everything around us, dead or alive, in the eyes of a crazy photographer mysteriously takes on many variations, so that a seemingly dead object comes to life through light or by its surroundings... To capture some of this - I suppose that's lyricism.
For me what photographers say about their photos doesn't have any importance. For me it is just enough to look at the pictures. Many times - for the boring pictures - people have to say so many things about them to show you there is something to them when many times there is nothing.
Before he came to Spain, photographers lined up in the discotheques, but they are still there waiting for him. Ronaldo is an obsessive of training, of the gym, of self-improvement. I've never seen a player in such good physical condition. He's a gladiator.
Think like a photographer. Look at every vignette in your home like it's being shot for a shelter magazine and style accordingly.
I hate it when people say, I'm an artist. I think, well, I'll be the judge of that. And I don't think artist is a job description. It's a critique, a favorable critique, that someone else might apply to your work. I guess in the art world I'm not exactly a photographer, but I do use photography.
The photographer's vision convinces us to the degree that the photographer hides his hand.
Luck is the attentive photographer's best teacher.
A photographer's best work is, alas, generally done for himself.
Photography is a contest between a photographer and the presumptions of approximate and habitual seeing. The contest can be held anywhere ...
A skillful photographer can photograph anything well.
To quote out of context is the essence of the photographer's craft.
In practice a photographer does not concern himself with philosophical issues while working; he makes photographs, working with subject matter that he thinks will make the pictures.
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.
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 really don't have any secrets. I've never met a photographer whose work I respected that had a secret because the secret lies within each and every one of us.
Whatever it takes to get the image to reach that level is what that photographer needs to do. And for me, I just have such a love of the tactile and sensuous quality of a black and white silver gelatin print.
A photographer needs to be a good editor of negatives and prints! In fact, most of the prints I make are for my eyes only, and they are no good. I find the single most valuable tool in the darkroom is my trash can - that's where most of my prints end up.
I support any procedure that allows photographers to express themselves, whether that involves color, black and white, platinum, palladium and digital technology.
Many photographers are consumed with the idea of making beautiful contact sheets. I am far more interested in making the best final print I can.
It is not without trepidation that I have appropriated the codes of the Sublime and the Picturesque in my work. After all, serious photographers have spent most of this century trying to expunge such extravagances from their art. The tradition lives on, mostly in calendars and picture postcards. I was challenged to rework and revitalize that which had been so roundly denigrated.