It should be the aim of every photographer to make a single exposure that shows everything about the subject. I have been told that my portrait of Churchill is an example of this.
Who can take Death's portrait? The tyrant never sat.
I want people to understand that this is a very calibrated image [Portrait of the Artist as a Shadow of His Former Self ], where point by point, very little is left to chance.
What I do feel is that 'Up in the Air' is the most indicative film of 2009. It is the portrait of 2009.
Portrait photography never had any charms for me, so I sought my subjects from the house-tops, and finally from the hill-tops and about the surrounding country; the taste strengthening as my successes became greater in proportion to the failures.
We only serve as a model for the portrait of our fame.
I have been photographing the portrait of an end of an era, as machines and computers replace human workers. What we have in these pictures is an archeology.
Before, the myth of photography doesn't lie was used in order to cover up tricks. If I [make a] portrait [of] you, accommodate you, illuminate you, put make up on you or use a filter, am I not manipulating reality? The only difference is that now I can do it from the computer in the postclick instead of the preclick. If I decide to photograph something instead of something else, I also manipulate reality. Of course a photograph can lie or commit abuse, but it always could.
The treatment you permit reveals the portrait you have of yourself.
This is a portrait of Iris Clert if I say so.
every portrait that is painted with feeling is a portrait of the artist, not of the sitter. The sitter is merely the accident, the occasion. It is not he who is revealed by the painter; it is rather the painter who, on the coloured canvas, reveals himself.
A Portrait of the Artist as a Young Man is in fact the gestation of a soul.
A beautiful person among the Greeks, was thought to betray by this sign some secret favor of the immortal gods; and we can pardonpride, when a woman possesses such a figure that wherever she stands, or moves, or leaves a shadow on the wall, or sits for a portrait to the artist, she confers a favor on the world.
In a portrait, I’m looking for the silence in somebody.
For me, an aerial picture is no different than a close-up portrait. It's a question of framing and angle. Helicopters are great for that. But I've also used planes. Of course, I always have a harness.
Every record is a portrait of the band at that time.
When you start with a portrait and try to find pure form by abstracting more and more, you must end up with an egg.
I sometimes find the surface interesting. To say that the mark of a good portrait is whether you get them or get the soul - I don't think this is possible all of the time.
[My picture A Portrait of the Artist as a Shadow of His Former Self ] was a way of demonstrating that there was a broad range of possibilities and fairly unlimited utility for a black figure that didn't have to comprise its blackness in order to preserve a place in the field of representation.
That’s my idea of what a portrait ought to be, anonymous and documentary and a straightforward picture of mankind.