Quotes About Photography

I took lots of photographs and had planned to write a treatise on how it worked, but I quickly got bored with that idea and wrote a scientific fairy tale instead.

Twelve significant photographs in any one year is a good crop.

In my final year of college, I was interning with L'Oreal, when during one of the photo shoots, a photographer suggested I become a model. I was working under Smira Bakshi, who was this really cool chick, as she was loaded, had her fun, and was successful. I basically aspired to be her.

Even now, a year later, people ask me about the Wheelchair Photo: what do I think about it? Does it bother me? The honest answer: I don't think about it. I glanced at the photo once, about a week after the bombing. I knew immediately I never wanted to look at it again.

I have photographed sharks in waters around the globe, and I always want more and yearn to peer deeper into their world. To feed my passion and to raise awareness, I developed a story about sharks for 'National Geographic' magazine.

I am just pitifully nostalgic. I can't help but roll my eyes at myself frequently. I mean, I still shoot black-and-white film. And I am constantly reminiscing about the 'good old days.' I'm 28 years old. There haven't even been that many 'good old days.' But still, I love to look back.

When we talk about how movies used to be made, it was over 100 years of film, literal, physical film, with emulsion, that we would expose to light and we would get pictures.

At the beginning, we didn't have the money to pay big names, which is how looking for new faces began a tradition that still continues 30 years into the Guess history. It's been interesting to follow their careers after a Guess shoot, for both photographers and models, because the exposure around the world becomes so huge.

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.

My use of the medium - photography - is in some ways traditional.

I came up, I suppose, a fairly traditional way. I went to art college. I always wanted to be a stills photographer, really, when I was younger, and I briefly worked as a stills photographer.

I like dark humor. I think the world is very funny and tragic, and my photographs are basically dark Jewish humor.

I could spend my whole life photographing circuses. They combine everything I'm interested in - they're ironic, poetic, and corny at the same time. There's also something about a circus that's magical, sentimental, and almost tragic, like a Fellini film.

I remember when an editor at the National Geographic promised to run about a dozen of my landscape pictures from a story on the John Muir trail as an essay, but when the group of editors got together, someone said that my pictures looked like postcards.

I'm married to Kevin, a photographer whose career has put him on the campaign trail with presidential candidates and sent him on assignment to far-flung places for long periods of time. It was sometimes rough when our children were small, and I was beginning to write in earnest.

Before movies, memory unspooled differently in the mind, trailing off in dust-blasted fade-out rather than spliced-together flashback; before photography, memory rippled like a reflection on water's surface, less precise but more profoundly true.

Rod's always opening doors for me, but I usually tell him to walk through first. Otherwise, if we're at a restaurant and I'm in front, the paparazzi end up getting a big giant close-up of me, and then he's trailing behind, looking like my little child!

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.

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.

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.

I was at a luncheon; and some cameras were trained on us. I don't know whether they were for television or not. You know how little I know about cameras.

I never expected that. I didn't aim for that. All I wanted was to get some nice pictures of trains at night.

My closest friends are Roger Moore, who is an actor, Sean Connery, who is an actor, Terry O'Neill, who is a photographer, Johnny Gold, who was the boss of Tramp, and Leslie Bricusse, who is a composer.

The transactions between me and the people that I photograph are very, very collaborative.