Quotes About Photography

On 'America's Top Model,' I've always told my girls to smile with their eyes. We call it 'smizing.' Over the years, it's actually become part of pop culture. I would be walking down the street, and girls would say, 'Smize!'

When I've had enough of words, I go out into the city for a long walk; sometimes I'll go out walking for several miles. And I'll just take photographs and hope for something striking or unusual to happen that I can organize into a picture frame.

I'm photographed a lot walking my dog, not the most glamourous!

It's hard to understand why just walking around for two hours and taking pictures would be just a big deal, but once you try it, you'll fall in love with it.

Once I was walking from The Mercer in New York - because otherwise I don't walk anywhere - and this woman paparazzo who was following me fell over a fire hydrant and her whole tooth went through her lip. I leant over her, saying, 'Are you all right?' and she was still taking pictures.

Photography obviously lends itself so well towards fashion. It's capturing that moment and that inspiration, and as a designer you are constantly walking through the world assimilating those visual references you have and so being able to solidify that into a photograph and keep it on your mood board is essential to creating a collection.

I was shocked the first time the paps got me in America - when a video camera is put in your face and you're asked questions and 15 people are walking backwards taking your picture. I was coming out of a pizza shop and had my daughter with me.

Even if you're walking through the airport or going to pick up your mail, if you meet a fan and they have a camera, they will take a picture of you and millions could potentially see that picture - if it's picked up by a blog or whatever.

I have always been a very keen walker, though, and I often took a camera with me on my walks.

I was more of a commercial model. I wasn't into ramp walks or photo shoots.

My writing philosophy is throwing spaghetti against the wall. That's how I take pictures, too. If I take 100, surely one will be good.

The pictures of my family were designed to be on a family wall, they were supposed to be together. It was supposed to copy my mother's wall in her house.

There's one right place to put the camera. I'm a big believer in that. You'd think you could put it anywhere. Nope.

Bill Cunningham... he knows fashion better than anybody.

I lived and grew up in the black and white period of photojournalism.

When I travel, sometimes I feel like a street blogger. I'll take pictures of people all over who are wearing cool things.

I remember borrowing my mum's Instamatic 110 camera as a kid and doing still lifes of tennis balls and benches and thinking they were going to be something really amazing. They ended up being really bad.

I bought all the stuff, but nothing was as satisfying to me as using the Rolleiflex because it was one shot.

The only thing I would tell my younger self is, 'Don't pay a lot of money for head shots.' There's always some dude in Brooklyn that's like, 'Dude, this is gonna get you the job.' And he convinces you you've got to pay $700. You don't! Your head shot doesn't matter!

You can't shoot in sepia, so converting into black and white and then into brown makes everything feel less real.

When roles that mattered to me started drying up, I took to the brush and camera to connect with myself and the world.

And I also take photos of hydrogen bomb, from another part of the building. It was not part of my job, but I succeeded to go and take photos of the hydrogen bomb.

A lot of fashion photographers will do the same sort of image for many years; it's easier to be successful if you do that.

So successful has been the camera's role in beautifying the world that photographs, rather than the world, have become the standard of the beautiful.