Quotes About Photography

Whenever they do leg pictures, I'm it!

It is good to be in front of the lens to appreciate more being behind the lens.

For my first book, 'New York,' I had one camera and two lenses. It was fotografia povera.

That's one of the best things about the RED ONE - I can use all the best lenses that have been used in film forever.

Lighting is everything in order to get the 'perfect' selfie.

I work very quickly. I only ever take one picture of one thing. Literally. Never two.

I literally think I look bad in every picture.

I'm really in no one city more than two months during the year. I'm constantly having to readapt my eye to new locations.

When People magazine called me, I did the job on Ansel. I'm older than Ansel and he has to mind me.

I don't do 'Image' magazine or high-fashion shows.

No one ever questions where all these pictures in magazines and books come from.

I would love to work with Mario Testino. I respect all the work he has done and is doing.

Each photograph is a magic lamp rubbed by the mind.

For me, the subject of the picture is always more important than the picture.

I tend to think of the act of photographing, generally speaking, as an adventure. My favorite thing is to go where I've never been.

One of the risks of appearing in public is the likelihood of being photographed.

One thing that struck me early is that you don't put into a photograph what's going to come out. Or, vice versa, what comes out is not what you put in.

I would never choose a subject for what it means to me. I choose a subject and then what I feel about it, what it means, begins to unfold.

I mean, it's very subtle and a little embarrassing to me, but I really believe there are things which nobody would see unless I photographed them.

What moves me about...what's called technique...is that it comes from some mysterious deep place. I mean it can have something to do with the paper and the developer and all that stuff, but it comes mostly from some very deep choices somebody has made that take a long time and keep haunting them.

I used to have a theory about photographing. It was a sense of getting in between two actions, or in between acton and repose.

In the beginning of photographing I used to make very grainy things. I'd be fascinated by what the grain did because it would make a kind of tapestry of all these little dots and everything would be translated into this medium of dots. Skin would be the same as water would be the same as sky and you were dealing mostly in dark and light, not so much in flesh and blood.

Then he looked beyond the ever-shifting alteration to study the stillness of her expression. He knew his camera could not capture this - that some things were only truly seen by the human eye. This was one of the images of his lifetime. He simply exposed his retina and let love burn her flickering, shimmering, absorbed face onto his soul.

just want to take some photographs. I don't think the weather is on my side, though." "You'll get to see it properly within the hour. This mist won't last long.