Quotes About Photography

I thought it would be good not to hide the fact that you're taking a photograph, and have people react and come in close and also make a commentary on what's being photographed: 'This is a photo, this is my point of view.'

I live my everyday life as a person, and I react to my photos from a certain distance. When I look at a photo, I detach myself and look at it as a product - not as me, Isabella.

It is always the instantaneous reaction to oneself that produces a photograph.

Why are all the artists so dead-set on distorting? It seems to be a reaction against photography, but I'm not sure.

Smartphones are always in your pocket. They're about reactive capture.

I'm a big reader. And I take a lot of pictures, do a lot of writing.

Magazines that depend on photography, and design, and long reads, and quality stuff, are going to do just fine despite the Internet and cable news.

The photographers I worked alongside loved the news cycle and the hustle and getting that front page of the newspaper. But I wanted to be out in the field in conflict areas, documenting real life rather than political theater.

I think about a Richard Avedon photo series, the kind of faces he gets of real people, which I find so captivating. Fellini was also great in filling his films with this ambiance, this environment, sometimes chaotic and carnival-like, but people's faces were always amazing.

Today, it's almost the outlier if people are not photographing what they ate and then sharing that in real time.

I realise that I had the best of serious picture journalism. There was an innocence in our approach, especially in the 1950s and 1960s when we naively believed that by holding a mirror up to the world we could help - no matter how little - to make people aware of the human condition.

I began to realise that film sees the world differently than the human eye, and that sometimes those differences can make a photograph more powerful than what you actually observed.

I don't know about the hair. I've had it since I was a kid, and when I look at myself in the mirror, it looks quite normal. But then when I look at myself in a photo, I realise that my hair is basically bigger than my head! There's quite a lot of interest in my hair, which is strange, as for me, it's normal!

When I was at drama school, people weren't taking pictures of themselves every five minutes. So I didn't realise how I looked. It was only when people started taking pictures of themselves that I looked at myself and thought: 'Oh my God, I look really miserable.' Even when I'm happy I look sad.

Cara Delevingne, Gisele Bundchen and Rosie Huntington-Whiteley are all gorgeous.

Rita Hayworth in Gilda... there's not a shot of her in that movie that isn't gorgeous.

I want my children and grandchildren to see what I look like now.

I did have a very advanced grandmother, my mother's mother, who wanted to buy me a camera. My parents wouldn't let her. Eventually she won, and I got a camera in about 1948, a Voigtlander.

I remember this time I worked with Linda Evangelista on a shoot for Richard Avedon. I just put grease on her face, and it was beautiful.

I'm actually rubbish at selfies. I always feel a bit ridiculous doing it unless I'm with a bunch of friends, where I'll usually stand at the back with a huge grin on my face!

I love braids and just generally playing around with different hairstyles, especially for festivals and photoshoots.

I would leave halfway through a photoshoot, because I couldn't bear looking at myself or being in front of a camera. I used to feel disgusted in myself.

Cohen was on his knees taking a picture of a passing cloud, an unremarkable cirrus shaped as if it were sketched expressly for a meteorology textbook, its immortality assured only through the wild Polish luck of having passed the former concentration camp on the day of Cohen's visit.

That is why Lawrence, like Rilke, hated photographs of himself. To both writers photographs prefigured an end of becoming.