The greatest photographs are motivated by human feeling.
In 3-D filmmaking, I can take images and manipulate them infinitely, as opposed to taking still photographs and laying them one after the other. I move things in all directions. It's such a liberating experience.
The heavy odds against finding the desired. . . work of art in the mess and flux of life, as opposed to the serene orderliness of imagined reality, give a special tense dazzle and an atmosphere of tour de force to any photographs that succeed in the search.
I have looked at so many photographs, I can not see them anymore.
The only times we are consciously aware of the authorship of a photograph, I would argue, are when we contemplate the photographs we ourselves have taken (or those of friends and family) or when we go deliberately to the photographers monograph or exhibition. The signed image - the appropriated, the owned image - is by far the rarest in this pullulating world of pictures.
I have two pairs of eyes – one to paint and one to take photographs.
Films are even stranger, for what we are seeing are not disguised people but photographs of disguised people, and yet we believe them while the film is being shown.
The past is always with us, in the form of our photographs, which we feel as we might a rosary, wearing them smooth with the fingering of our eyes.
Research material can turn up anywhere - in a dusty old letter in an archive, a journal or some old photographs you find in a charity shop.
I don't consider [my] photographs fashion photographs. The photographs were for fashion, but at the same time they had an ulterior motive, something more to do with the world in general.
I think of my photographs as being obviously symbolic, but not symbolically obvious.
To me, these people were as exotic as animals in a zoo. I'd never seen anything like them. I wasn't sure whether I wanted to be one of them or simply live among them taking notes and photographs.
Long before we discovered mirrors and photographs, our mothers' reflections provided us with the earliest glimpses of our female identity.
To engage a sequence, we keep in mind the photographs on either side of the one in our eye.
That's who comes to my workshops. I jokingly tell my students that the class could be called "Your photographs: Better. "
When I look at photographs, I couldn't care less "how. "
There are more pretty photographs of women than there are photographs of pretty women.
I am a big admirer of Sachin and his personality. He is a source of inspiration for the country and just looking at his photographs gives a lot of positive vibes.
There are a lot of ways to talk about the life of a photograph. You can talk about the afterlife of a photograph, and in the end I talk about that, with the Richard Prince picture. But mainly, what I dedicated the book to being about was how photographs begin their life, and where they begin it. And they begin it with the photographer's imagination and instinct and experience.
I don't know how many millions of photographs have been taken of me.