My photography changed from being more documentary-like to arranging things more, and that came into being partly because I started doing music videos, and I incorporated some things from the music videos into my photography again, by arranging things more.
There are some elements of digital photography that I don’t really like, such as the fact that you see the results immediately.
I’ve always thought photography was a bit of an adventure, so to come home with the film, develop it, then look at the results has more of a sense of excitement.
The only advantage of the CD is that you have a booklet that can tell a bit of a story, but the little covers are just boring. I love vinyl, and I have loads of it. It’s the same thing as digital photography versus film photography. It’s a quality thing.
I don’t want to knock photography, and I don’t feel that film is up there but photography isn’t. I think they’re next to each other really, you know. There’s an incredible strength to a still picture. Or there can be an incredible strength to a still picture that can outlive you. That can outlive a film.
With photography, you are lucky if you get people to look at your pictures at some point. There’s no formal way to show them.
Apart from photography and music videos, I also do graphic design.
I’m really interested in photography, like every other human being.
I’m a huge, huge fan of photography. I have a small photography collection. As soon as I started to make some money, I bought my very first photograph: an Henri Cartier-Bresson. Then I bought a Robert Frank.
For me, pointing and clicking my phone is absolutely fine. People say that isn’t the art of photography but I don’t agree.
With the work that I do as a director, I’ve got dialogue, camera movement, and character blocking to help create a tone to the piece. In photography, those elements are somewhat void so that tone becomes a bit more subtle but still equally important.
The arts equally have distinct departments, and unless photography has its own possibilities of expression, separate from those of the other arts, it is merely a process, not an art.
Before the people at large, and for that matter, the artists themselves, understand what photography really means, as I understand that term, it is essential for them to be taught the real meaning of art.
Photography can be a deceitful, superficial medium that leads us into believing something even though we know it’s not necessarily true. It lulls us into a false sense of complacency.
The clue to book jacket photography is to look friendly and approachable, but not too glamorous.
When I was teaching at Harvard in the 1970s, I went to Project Incorporated in Cambridge and took photography classes. I didn’t even know how to aim the camera in those days.
Photography is a way of feeling, of touching, of loving. What you have caught on film is captured forever… it remembers little things, long after you have forgotten everything.
Photography, as we all know, is not real at all. It is an illusion of reality with which we create our own private world.
Visual ideas combined with technology combined with personal interpretation equals photography. Each must hold it’s own if it doesn’t, the thing collapses.
It’s the rejection that is hard. It’s not the interviewing that’s hard. It’s not the photography that’s hard. It’s, you know, approaching people all day long and having a good portion of those people reject you and some of them be rude.
Now, my knowledge of photography was terribly limited.
For me, photography only stopped because I was selling books.
Photography can only represent the present. Once photographed, the subject becomes part of the past.
Madonna is her own Hollywood studio – a popelike mogul and divine superstar in one. She has a laserlike instinct for publicity, aided by her visual genius for still photography (which none of her legion of imitators has). Unfortunately, her public life has dissolved into a series of staged photo ops.
If people are fans of ‘Mindfreak,’ they are going to be so excited with ‘Believe.’ They are actually going to see those illusions that people think can only happen with trick photography.
People think because it’s photography it’s not worth as much, and because it’s a woman artist, you’re still not getting as much – there’s still definitely that happening. I’m still really competitive when it comes to, I guess, the male painters and male artists. I still think that’s really unfair.
In terms of digital photography, I continue to print and use film for the most part. I still shoot with film, 21/4 film specifically, and I love it. I love it because I know what it does, how it really responds to light.
Sometimes in news photography and so on, the pictures are a little bit dry, and put on the page and just set in a journalistic way in front of you.
The first half of the 20th century belongs to Picasso, and the second half is about photography. They said digital would kill photography because everyone can do it, but they said that about the box brownie in 1885 when it came out. It makes photography interesting because everyone thinks they can take a picture.
You had to be aware that I saw that photography was a mere episode in the history of the optical projection and when the chemicals ended, meaning the picture was fixed by chemicals, we were in a new era.
But slowly I began to use cameras and then think about what it was that was going on. It took me a long time, I mean I actually played with cameras and photography for about 20 years.
Every viewer is going to get a different thing. That’s the thing about painting, photography, cinema.
See, a painting is much cheaper than making a film. And photography is, you know, way cheap. So if I get an idea for a film, there are many ways to get it together and go realise that film. There’s really nothing to be afraid of.
I always thought of photography as a naughty thing to do – that was one of my favorite things about it, and when I first did it, I felt very perverse.
Oh my goodness gracious, what you can buy off the Internet in terms of overhead photography. A trained ape can know an awful lot of what is going on in this world, just by punching on his mouse, for a relatively modest cost.
Many billboards and magazine ads have resorted to showing isolated body parts rather than full-body portraits of models using or wearing products. This style of photography, known in the industry as abstract representation, allows the viewer to see himself in the advertisement, rather than the model.
In a world and a life that moves so fast, photography just makes the sound go out and it makes you stop and take a pause. Photography calms me.
A number of years ago, I found a book of photography by Weegee he was a crime photographer in the 1930s in New York. He was the first person to put a police scanner in a car and drive around.
And I’m a pretty avid photographer, I’ve been into photography for years now, so I try to spend some of my free time with that.
Painting, drawing – I’m really into photography, I’ve done it since high school.
People of my generation who became photographers in the late fifties, early sixties, there were no rewards in photography. There were no museum shows. Maybe MOMA would show something, or Chicago. There were no galleries. Nobody bought photographs.
Photography deals exquisitely with appearances, but nothing is what it appears to be.
Why do we use flash at all? Because photography is not the same as eyesight. We can see in low-light situations where cameras, dependent upon a physical process to record visual information, are half blind.
War is the easiest photography in the business. Just get close, be lucky, know how your camera works. There are subjects everywhere. Everyplace you go, there is something to photograph in a war, like being in the middle of a hurricane or a train crash or an earthquake. You can’t miss it.
Photography forces one out into the world, interacting with people and the environment. It flexes all those right brain, spatially-adept muscles.
I’m a photographer, period. I love photography, the immediacy of it. I like the craft, the idea of saying ‘I’m a photographer.’
I was always painting when I was a kid. But then when I handled a camera when I was 17, that was it for me. I loved photography. I would work 4 or 5 hours a day. It was like a calling.
I’ve been taking photographs since I was a teenager, and fashion has taught me a lot more about photography. It’s definitely inspired me.
In my photography, I always lean towards the underprivileged because that’s where I came from. When I went to the wars, I attempted to go and stand by those who were being trodden on. By that, I mean people like the Palestinians. When I go to India, I see really the poorest people, and I tend to be drawn to them.
I started out on photography accidentally. A policeman came to a stop at the end of my street, and a guy knifed him at the end of my street. That’s how I became a photographer. I photographed the gangs that I went to school with.
As a photographer, I’m interested in how dramatically photography has changed. Most images are not real or are composites, and most of us don’t even know it anymore.
When I first became interested in photography, I thought it was the whole cheese. My idea was to have it recognized as one of the fine arts. Today I don’t give a hoot in hell about that. The mission of photography is to explain man to man and each man to himself.
To me, photography is an art of observation. It’s about finding something interesting in an ordinary place… I’ve found it has little to do with the things you see and everything to do with the way you see them.
Photography is pretty simple stuff. You just react to what you see, and take many, many pictures.
Photography suits the temper of this age – of active bodies and minds. It is a perfect medium for one whose mind is teeming with ideas, imagery, for a prolific worker who would be slowed down by painting or sculpting, for one who sees quickly and acts decisively, accurately.
Photography to the amateur is recreation, to the professional it is work, and hard work too, no matter how pleasurable it my be.
Look at lots of exhibitions and books, and don’t get hung up on cameras and technical things. Photography is about images.
To me, the main and most exciting thing about photography is to meet people. The picture is the result of what happened between me and them on the set.
When I was a kid, I loved photography, and I loved makeup.
A lot of people think that when you have grand scenery, such as you have in Yosemite, that photography must be easy.
Light makes photography. Embrace light. Admire it. Love it. But above all, know light. Know it for all you are worth, and you will know the key to photography.
I loved photography and everybody said it was a crazy thing to do because in those days nobody made it into the film business. I mean, unless you were related to somebody there was no way in.
I guess I knew my dad was into photography, so a part of me was interested in picking it up to understand him a little better.
I studied photography at Bard, but I just felt tired of it. Someone asked me to be in a video but didn’t want to be in it, so they told me to make my own, and that seemed more fun to me.
I enjoy fashion photography and textiles, that whole aspect of it. As more of an art form, I like Proenza Schouler. Those guys are really cool because they seem to have an interesting approach to it all.
I was really nervous working with actors, since I come from a photography background.
I was always in front of the camera. My mom was really passionate about photography – I have pictures of my whole life. I’ve always just been in front of my mom’s camera, and it’s always comfortable to me.
We’ve lost these qualities, these abilities to do something by hand. Some illustrators have it still, but it’s just not art. We have photography. We have cameras and computers that do it better and faster.
When I worked as a music and fashion photographer, I always had the nagging feeling that there was something missing, that I wasn’t using my skills productively. I gave up photography – I walked away from it completely – and started doing care work.
When you live by the sea, there are definite seasons when you can see the weather coming and going, which lends itself to photography.
Photography is about finding out what can happen in the frame. When you put four edges around some facts, you change those facts.
Photography is always a kind of stealing. A theft from the subject. Artists are assaulters in a lot of ways, and the viewer is complicit in that assault.
I love photography, and I love the art of photography.
I am very much aware of the visual side of things. I do a lot of photography. I often take Polaroids of things that strike me as visually interesting, just to remember them and perhaps use later.
Photography is an immediate reaction, drawing is a meditation.
In photography, the smallest thing can be a great subject. The little, human detail can become a Leitmotiv.
To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event.
Actually, I’m not all that interested in the subject of photography. Once the picture is in the box, I’m not all that interested in what happens next. Hunters, after all, aren’t cooks.
I rode it once, which was up the driveway in the opening credits of the show. I didn’t know how to stop it. I actually nearly killed the director of photography, and I smashed into the sound truck.
Actually, when I first started dabbling in photography, I was still working for my parents as a salesman.
Generally, the French highly promote culture and the arts, and photography is in their blood.
I don’t think there is a movie that I’ve been on that I wasn’t sure I could direct it better. But certainly also, as a director of photography, I have to serve the movie in whatever way I can as a filmmaker.
I have always found photography magical, and became more taken with it whilst modeling.
I wish more people felt that photography was an adventure the same as life itself and felt that their individual feelings were worth expressing. To me, that makes photography more exciting.
I don’t think there’s any such thing as teaching people photography, other than influencing them a little. People have to be their own learners. They have to have a certain talent.
I feed on art more than I ever do on photographs. I can admire photography, but I wouldn’t go to it out of hunger.
If I had to start over, I’d pursue photography – probably to the exclusion of acting.
I never shot on sets, but if I was traveling somewhere or on location, I would always have my camera, and I’d always be – it’s that kind of fly on the wall approach to photography, though. I don’t engage the subject. I like to sneak around, skulk about in the dark.
Over the last few millennia we’ve invented a series of technologies – from the alphabet to the scroll to the codex, the printing press, photography, the computer, the smartphone – that have made it progressively easier and easier for us to externalize our memories, for us to essentially outsource this fundamental human capacity.
I love to paint, do ceramics, photography. I got a lot of side things that I like to do.
I like the idea of infinite human potential, and a lot of my photography and filmmaking has been focused on that.
Drones ply the liminal space between the physical and the digital – pilots fly them, but aren’t in them. They are versatile and fascinating objects – the things they can do range from the mundane (aerial photography) to the spectacular – killing people, for example.
Germany led the world in photography and film: ‘The Cabinet of Dr Caligari’ and ‘Metropolis’ are works that, to this day, film buffs revere.
Mapplethorpe presented the body as a sexual object, separating it from the humanity of the person. He added nothing to photography as a medium. I hold his work in low regard.
For me the printing process is part of the magic of photography. It’s that magic that can be exciting, disappointing, rewarding and frustrating all in the same few moments in the darkroom.
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.
Photography to me is catching a moment which is passing, and which is true.
Traditionally, photography is supposed to capture an event that has passed but that is not what I’m looking for. Photography brings the past into the present when you look at it.
In the world of photography, you get to share a captured moment with other people.
Music is the doorway that has led me to drawing, photography, and writing.
For a period of time, I carried cameras with me wherever I went, and then I realized that my interest in photography was turning toward the conceptual. So I wasn’t carrying around cameras shooting stuff, I was developing concepts about what I wanted to shoot. And then I’d get the camera angle and do the job.
I realized that one of the differences between news photography and dance photography was that the former has to tell a specific story, whereas all a dance photograph had to be was visually interesting.
My interest in photography is not to capture an image I see or even have in my mind, but to explore the potential of moments I can only begin to imagine.
With photography, I always think that it’s not good enough.
Photography of any living being, according to Taliban rule, was illegal. So when I went to Afghanistan, immediately I was worried about photographing people. But it was what I wanted: to show what life was like under the Taliban, specifically for women.
I’ve seen so many photographers rush to do books the minute they start shooting, but one great thing about photography is that the images don’t go away, so the more I sit with these images, the more I learn which ones have had the most impact.
When I started working in film, I loved photography, I loved the image, I loved telling the story within a frame, but as I started playing around with film and video, it was like, ‘Oh my god.’ You just have so much more to play with.
When I first moved from photography to filmmaking, I was worried about how big I had to become. I was one person, or maybe me and an assistant, and I had these small cameras, and maybe a flash.
My photography is often a sociological look at American culture, and it’s been very well published in the U.K.
Photography is a hobby born out of my time in undergrad at USC. It is more of a pleasurable hobby, a stress reliever. I don’t consider it a professional endeavor like acting or directing.
Back in the day, I actually studied photography in Florence for a few months, and my photography teacher took away my digital camera and said, ‘No, use this – it’s analog and it’s square.’ It was a Holga camera, a very cheap $3 or $4 plastic camera. And that’s what inspired ‘Instagram’.
Growing up, I didn’t give my grandfather’s photography a second thought. I wasn’t involved in his work, except that I helped my dad print his negatives.
When I got to NYU, I immediately inquired about doing a double major in acting and photography.
Why are all the artists so dead-set on distorting? It seems to be a reaction against photography, but I’m not sure.
Part of the role of photography is to exaggerate, and that is an aspect that I have to puncture. I do that by showing the world as I really find it.
In the ’70s, in Britain, if you were going to do serious photography, you were obliged to work in black-and-white. Color was the palette of commercial photography and snapshot photography.
There are 65 to 70 photography galleries in New York alone. In the U.K., there are no more than five, and they’re all in London.
Photography is the simplest thing in the world, but it is incredibly complicated to make it really work.
Ultimately, I made my range wider because I wanted to suit each publication that I worked for. Talk about reinvention – I’m like the Madonna of photography.
To me, the magic of photography, per se, is that you can capture an instant of a second that couldn’t exist before and couldn’t exist after. It’s almost like a cowboy that draws his gun. You draw a second before or after, you miss and you’re dead – not them. To me, photography’s always like that.
Nowadays shots are created in post-production, on computers. It’s not really photography.
I’m staying with film, and with silver prints, and no Photoshop. That’s the way I learned photography: You make your picture in the camera. Now, so much is made in the computer… I’m not anti-digital I just think, for me, film works better.
I think photography is closest to writing, not painting. It’s closest to writing because you are using this machine to convey an idea. The image shouldn’t need a caption it should already convey an idea.
Photography, for me, is something I can control fully. It’s wholly my own expressions.
I don’t story board. I do something else, which is, I block it. We then train to the blocking. In other words, when everybody’s training, they’re actually training a lot of the moves that we are definitely going to use, and then, I do a lot of photography of that, and that becomes where the cameras go.
With photography, you’ve captured a moment time – it’s that moment only – and in painting, you play with it you manipulate how time is presented. It’s about fantasy and illusion and the creation of desire.
When I was a teenager, I loved photography and writing.
For example, Michael Mann’s film Collateral – there is certain kinds of stories that lend themselves to digital photography. Some things are very raw stories that digital photography kind of lends itself to.
Big game photography in Africa is mainly done from a vehicle, so then I feel I might as well take the lot.
I think that ‘Ghost Rider: Spirit of Vengeance’ was mentally taxing, if only because I had to go to a Christmas party shortly after I had wrapped photography in Romania at two in the morning as the Ghost Rider. The invitation had a Christmas ornament on it with Ghost Rider’s face on it as a tree.
My main camera is a Nikon D3. I use a French camera from the 1800s for wet plate photography, I use a Hasselblad sometimes. But to me the camera really doesn’t matter that much. I don’t have a preference for film or digital.
My studio, nicknamed ‘Funny Farm,’ is in a hidden location. It’s very private. Not only do I create my photography there, but it is also where I write my books and create music.
I did photography, painting, and drawing, but I prefer sculpture. I like it because it’s very physical.
My directors of photography light my films, but the colours of the sets, furnishings, clothes, hairstyles – that’s me. Everything that’s in front of the camera, I bring you.
I was extremely irritated being photographed for a long time, then I gave up caring. Photography is a nauseating cliche, but there is a lot to it. You can tell so much about a person from it. You are exaggerating the consciousness. It’s life-thickening, photography.
Because it’s free, easy to use, and high-quality, photography is now a fixture in our daily lives – something we take for granted.
Photography is like a moment, an instant. You need a half-second to get the photo. So it’s good to capture people when they are themselves.
I also paint, draw and I’m into film and photography as well, and the same thing applies to all of them. You’re presenting this material to the general public and hoping that they’re going to ‘get’ what you’re doing. Some don’t, some do.
A movie is painting, it’s photography, it’s literature – because you have to have the screenplay – it’s music. Put a different soundtrack to a comedy and it’s a tragedy. A movie combines all those forms and forces you to pay attention for two hours with a group of people.
Moreover, photography has made it possible to fix these images and now provides us with a permanent record of each observed spectrum, which can be measured out at any time.
Your photography is a record of your living, for anyone who really sees.
I went to university in Colorado and studied art history. I did some photography classes there, although it felt really pretentious.
I’m constantly working on these edges of photography, either to employ so much information or reduce information to the point of collapse.
With photography, you zero in you put a lot of energy into short moments, and then you go on to the next thing.
The way that light hits objects, I think, is one of the more important things that sculpture and photography share.
The way that light hits objects in life, three-dimensional objects before you photograph them, is really the story of photography.
Photography has always been a passion of mine, but I began to study light field photography when I was in the Ph.D. program at Stanford University.
I loved photography but was frustrated by the limitations of cameras. When trying to take a picture of a friend’s young, active daughter using my DSLR, it was impossible to capture the fleeting moments.
For me, Picasso was the ultimate man. He taught me that photography is all about how you approach an image: what you do and what you don’t do. He inspired me to go beyond what you think is in front of you.
First you study photography, then you practice photography, then you serve photography, and finally one becomes photography.
I know that my mind is so A.D.D., and I want instant gratification – and photography can provide me with that – but at some point, I want to make an independent feature.
The other great development has been in photography, but that too was influenced by Conceptual art.
Any time you talk about the look of the film, it’s not just the director and the director of photography. You have to include the costume designer and the production designer.
Photography is a kind of virtual reality, and it helps if you can create the illusion of being in an interesting world.
Increasingly, the work I’m doing is in service to an idea rather than just to see what something looks like photographed. I’m trying to explore how I feel about something through photography.
Woman on the Plaza,’ with its distinct horizon, snow-like surfaces, wintry wall, stunning sunlight, sharp shadows, and hurrying figure, would become the most biographical of my photographs – an abstract image of the landscape and life of northern Ohio where I grew up and first practiced photography.
Photography, alone of the arts, seems perfected to serve the desire humans have for a moment – this very moment – to stay.
I had luck, but I worked hard and I suffered. It’s not just photography I’m talking about. It’s about whatever dream you want it to be.
I give my grandfather, Dr Harold Young, a forestry Professor at the University of Maine, full credit for my career path. He pioneered the use of aerial photography in forestry in the 1950s, and we think he worked as a spy for the CIA during the Cold War, mapping Russian installations.
Archaeologists have used aerial photographs to map archaeological sites since the 1920s, while the use of infrared photography started in the 1960s, and satellite imagery was first used in the 1970s.
The language that photography has is a formal language. Any photographer is doing something formal. If it’s formal, then it must be an aesthetic way to communicate.
Of course I will continue photography. I love photography. But when you become old, it’s too much.
Of course, I won’t be abandoning photography, because it is my life.
A lot of people want to make films and do photography and things, but I’m quite happy doing what I’m doing.
I began drawing as a very young child and had a grandfather who experimented with photography, so those things constituted my first exposure to art.
When we started in the early ’60s, football had a little bit of a tradition. But, they didn’t have a mythology. And NFL Films, through our music and our scripts and our photography, created a mythology for the sport.
I really like photography, and I’d like to do more of that kind of thing. If I had to choose a different job within the industry and do it well, I would love to do cinematography.
I really enjoy the iPad because you can multi-task: I can watch a movie, read, look at pictures that I shot – because I’m into photography. It serves a lot of purposes for me.
Like Robert Mapplethorpe, Helmut Newton, and so many others before me, sexual imagery has always been a part of my photography.
Photography is a small voice, at best, but sometimes one photograph, or a group of them, can lure our sense of awareness.
I try to consider each body of work on its own terms, discretely, so terms like ‘sculpture’ or ‘photography’, in their broad sense, don’t really enter into my thinking.
Black-and-white photography, which I was doing in the very early days, was essentially called art photography and usually consisted of landscapes by people like Ansel Adams and Edward Weston. But photographs by people like Adams didn’t interest me.
In my photography, color and composition are inseparable. I see in color.
It’s the first time that I’ve ever had an art show based on a film, but it’s a photography collage.
Photography, painting or poetry – those are just extensions of me, how I perceive things they are my way of communicating.