Even in the very beginning when she would bump into George Valentine and people would start taking pictures of her, she never thought, 'I'm with George Valentine. I need to get a picture with him.' She's like 'oh that's funny. Everyone's taking pictures!'
If you take the '70s with Blaxploitation pictures, there was a proliferation of black-content films and motion pictures, television, stage plays and so forth at a time when Hollywood was in trouble financially, and it was cheaper to do black films to keep the lights on until they could reestablish themselves.
When I started working in fashion, I didn't have money to buy photographs, so I'd Xerox pictures from magazines and put them in notebooks. When I'd start a collection, I'd sit with my old notebooks and look through them for inspiration.
My mom is still yelling at me because she needs more autographed pictures.
But if you're talking about fine art work, then I think you have to ask yourself some pretty deep questions about why it is you want to take pictures and what it is you want to say.
That's why so many stars are making pictures in Europe today. The tax guys are making thieves out of everybody.
I think all the stuff that happens before the pictures are taken is much more exciting.
If you see everything through the lens, you are constantly composing pictures. I think in pictures; I don't think in text.
I don't take pictures when I'm with my kids, for the sake of my kids. It's important when you're as busy as I am that you give your kids your time when you're with them, and nothing compromises that. I've been lucky enough to have fans that understand that.
Like all of my previous work - which I also hope is a bit hard to categorise - 'The Oopsatoreum' is an illustrated book, so a combination of words and pictures that tell a kind of story.
Throughout my pictures I employ a lighting which is not naturalistic.
FDR had been Assistant Secretary of the Navy. They told me, now forgotten, just how many pictures of ships they took out of the White House after he died. But he could choose good men.
I feel I'm anonymous in my work. When I look at the pictures, I never see myself; they aren't self-portraits. Sometimes I disappear.
I had done 25 motion pictures prior to The Partridge Family and nobody knew my name.
What I find problematic is the suggestion that when, say, Madonna adopts an African child, she is saving Africa. It's not that simple. You have to do more than go there and adopt a child or show us pictures of children with flies in their eyes. That simplifies Africa.
I can't just wear whatever when I go out because somebody might want to take a picture. People are, like, taking pictures of me in my car when I'm driving. It's crazy. I kind of hate it sometimes.
That's my ambition: that you look at the pictures and realize what complex, fascinating, interesting people every single one of my subjects is.
I've never really been anywhere, and now I get to go everywhere. I just have to make sure there's enough memory on my computer to hold all my pictures.
There's nothing I don't know about war. The stench of it. But I say that without any pride. War is a terrible thing. My hope is that you'll get that through looking at one of my pictures.
The secret of all effective originality in advertising is not the creation of new and tricky words and pictures, but one of putting familiar words and pictures into new relationships.
What I learned from Lennon was something that did stay with me my whole career, which is to be very straightforward. I actually love talking about taking pictures, and I think that helps everyone.
I've made somewhere around 150 pictures, and a lot of them are B-pictures, I can tell you that. I'd say there's about one hundred of them I don't remember.
We're trying to get good pictures. Don't worry very much about what I say.
I began taking pictures in the natural world to be able to show people what I was experiencing when I climbed and explored in Yosemite in the High Sierra.
I went from a guy, kind of a working actor, a supporting player, to magazine covers and being offered the studio pictures really quickly. Nobody was comfortable with it. I wasn't really comfortable with it.
I paint German artists whom I admire. I paint their pictures, their work as painters, and their portraits too. But oddly enough, each of these portraits ends up as a picture of a woman with blonde hair. I myself have never been able to work out why this happens.
As a kid, I grew up on a farm in Florida, and I did what most little kids do. I played a little baseball, did a few other things like that, but I always had the sense of being an outsider, and it wasn't until I saw pictures in the magazines that a couple other guys skate, I thought, 'Wow, that's for me,' you know?
I grew up in the north of Chile, and this is why there are a lot of religious symbols in my pictures: because the Catholic Church in Latin America is very strong.
It's been fascinating watching all those pictures of me with a lot more hair Jeremy, and looking very young. And we've all got things we've said, twenty, thirty years ago, indeed the whole world has changed since then.
It would have been more logical if silent pictures had grown out of the talkies instead of the other way around.
The motion pictures I have made and the plays I have chosen to direct represent my convictions.
I make pictures and someone comes in and calls it art.
Painting pictures didn't make me a lot of money. I have to eat.
When I'm not painting, I'm Oujia-boarding with my photos. I'll sort through my pictures, put them in different folders, and come back months later to one in particular and try to figure out why I took it.
I don't understand art-speak. My pictures are big doodles. I'm amazed what people come up with when they look at them. There's one of a figure with two heads that somebody thought must be a comment on the state of matrimony. None of it is a comment on anything.
I remember traveling around in Arkansas with Senator Robinson, and I told him what this little trick was. He felt very much part of it and had me take pictures of people unbeknownst to them.
