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Photographers usually want to photograph facts and things. But I'm interested in the nature of the thing itself. A photograph of someone sleeping tells me nothing about their dream state; a photograph of a corpse tells me nothing about the nature of death. My work is about my life as an event, and I find myself to be very temporal, transient.
Photographers deal in things which are continually vanishing and when they have vanished there is no contrivance on earth which can make them come back again.
Conflict photographers grapple with two worlds that are themselves often in conflict the one where bombs fall and bullets fly, where adrenaline runs high, and the other, back home, which is comparatively secure, and where the big event of the day may involve selecting swatches of fabric for a new sofa.
I think that I was lucky that I was 30 when I did 'Love Story', which came with this extravagant pop celebrity. I had already done 15 years of what I call 'real' work.' I was a waitress, chambermaid, and a photographer's assistant, so I knew that I was tremendously lucky as a novice actor to have that big hit.
I admired the work of photographers like Beaton, Penn, and Avedon as much as I respected the grittier photographers such as Robert Frank. But in the same way that I had to find my own way of reportage, I had to find my own form of glamour.
Those who want to be serious photographers, you're really going to have to edit your work. You're going to have to understand what you're doing. You're going to have to not just shoot, shoot, shoot. To stop and look at your work is the most important thing you can do.
If I hadn't been a singer, I might have been a photographer or an artist. But it's singing I love. I sing all the time, and I feel really good that I've expressed myself.
Some photographers take reality... and impose the domination of their own thought and spirit. Others come before reality more tenderly and a photograph to them is an instrument of love and revelation.
I went on a long trip through South America with Prince Charles where I was the only journalist there a couple of photographers but no other writers.
For me, the world is a stage, and we are all playing the character we have chosen to play on that stage. It is the job of the photographer to capture the drama of the performance.
A journalist is supposed to present an unbiased portrait of an event, a view devoid of intimate emotions. This is impossible, of course. The framing of an image, by its very composition, represents a choice. The photographer chooses what to show and what to exclude.
For me N.M.E. was a very big thing. When I first came to the United Kingdom I started taking pictures for them and I became their main photographer for five years, and that's really been the basis of everything I've been doing since.
Accompanied by an Australian photographer named Nigel Brennan, I'd gone to Somalia to work as a freelance journalist, on a trip that was meant to last only ten days.
I'm in the early stages of a film called 'Freezing Time' about Eadweard Muybridge, the Victorian photographer who was really the forefather of cinema. Digital animators still treat his images like the Bible. He was a very obsessed man.
At 99 and after a long stay in a nursing home, the death of legendary photographer Eve Arnold was hardly a surprise though she may have been just a little annoyed to quit a few months short of 100.
Sometimes when I'm being photographed, I hear the voice of this photographer who told me when I was about six while he was taking my school photo that I didn't have a nice smile, and I shouldn't smile in photos.
My height can be a problem. A lot of directors and photographers are sometimes not happy because I'm pretty tall and especially if I work with short actors the difference can be pretty massive.
I always wanted to be a photographer. While I was at school, I got a lab monkey holiday job in the darkrooms at the 'Independent.' What they taught me there was: you need to get the whole story in one frame.
These days, with 'American Idol' and all the other reality shows, young people become famous overnight, and that can be very difficult to handle, the way photographers follow you around and study your every move.
For a photographer, sharks are a stirring subject, possessing a perfect blend of grace and power. They have been sculpted by evolution and are ideally suited for whichever ecosystem they inhabit, from coral reefs to the open ocean.
I love storytelling, I love being a visual person, and it just made perfect sense to be an underwater photographer and explore the ocean and work with scientists.
I've worked with the Los Angeles Zoo for 45 years, and we have this magnificent photographer, Tad Motoyama. He takes these wonderful, wonderful animal pictures. All through the years he's given me copies of these pictures. Well, I have all these gorgeous ones, so I said, 'Tad, I want to do a book with your picture on one side.'
You know, my dad wasn't a photographer or filmmaker by profession, but on Sundays, he would take pictures of me and my family or his pals horseback riding, and it was a means of communication and affection, a means of not being so dysfunctional with each other.
Most photographers would feel a certain embarrassment in admitting publicly that they carried within them a sense of wonder, yet without it they would not produce the work they do, whatever their particular field.
I consider it essential that the photographer should do his own printing and enlarging. The final effect of the finished print depends so much on these operations.
It is part of the photographer's job to see more intensely than most people do. He must have and keep in him something of the receptiveness of the child who looks at the world for the first time or of the traveler who enters a strange country.
And only the photographer himself knows the effect he wants. He should know by instinct, grounded in experience, what subjects are enhanced by hard or soft, light or dark treatment.
Sometimes they are a matter of luck; the photographer could not expect or hope for them. Sometimes they are a matter of patience, waiting for an effect to be repeated that he has seen and lost or for one that he anticipates.
The problem is I'm not a good photographer. To be perfectly honest, I'm too shy. Not aggressive enough. Well, I'm not aggressive at all. I just loved to see wonderfully dressed women, and I still do. That's all there is to it.
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