I've done over 125 posters and I have worked with some of the best photographers in the world. They made me America's Number one Pin Up.
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.
I've never, ever in my life touched a photographer. Some of the cruellest things I've ever said have been to photographers who are chasing me down the street, some of the sharpest, most efficient emotional barbs. And they know that in that moment, in that one-to-one wit competition, they just got smashed.
I have had the privilege of working with the best in the business, from photographers to designers to magazines. There's not much more to ask for but I'm still looking forward to one day working with photographers Mert and Marcus, Tim Walker and Nick Knight.
I think the greatest photographers are the amateur photographers who do it because they love it. Arnold Newman is a good example; he is a consummate professional, but he's also an 'amateur' in the pure sense of the word.
They often ask me to shoot for them. But I say no. I think an old guy like me ought not take pages away from young photographers who need the exposure.
I'm happy to help Crest Whitestrips on their mission to inspire photographers everywhere to capture smile moments and would encourage aspiring photographers to express themselves through their photos.
Photographers never want to talk about the fact that they may well be in decline. It's the greatest taboo subject of all.
Every time someone downloads a picture, the photographers get paid about 30% of what we charge.
My mountaineering skills are not important to my best photographs, but they do add a component to my work that is definitely a bit different than that of most photographers.
At the beginning of my career, as a boy from Peru in London, suddenly discovering British culture and society, I looked so much at the work of the photographers Cecil Beaton and Norman Parkinson, which seemed to represent a wonderful vanished grandeur of my new country.
I went on a long trip through South America with Prince Charles where I was the only journalist there - a couple of photographers but no other writers.
Photographers deal in things which are continually vanishing and when they have vanished there is no contrivance on earth which can make them come back again.
There's people outside our house; you get followed by photographers; you can't go out and have a cup of coffee with a friend without someone coming up to you.
I have mixed feelings about those sorts of things. When I see it done by interesting young people, I think it's very valid. But when established photographers, people in their forties, copy me and get a lot of money, well, I find that to be very stupid.
I look at my first appointment book from 1965 and I get dizzy. I was constantly in a phone booth calling photographers.
The great photographers of life - like Diane Arbus and Walker Evans and Robert Frank - all must have had some special quality: a personality of nurturing and non-judgment that frees the subjects to reveal their most intimate reality. It really is what makes a great photographer, every bit as much as understanding composition and lighting.
Photography is very presumptuous. Photographers are always photographing other people's lives - something they know nothing about - and drawing great inferences into it.
If you travel 11 months a year - from one dangerous or isolated situation to the next - if you live in hotels, and every relationship with another human being is a two-week relationship, the only other people who have any idea what you're going through or how strung out you are are other photographers.
We look at the world and see what we have learned to believe is there. We have been conditioned to expect... but, as photographers, we must learn to relax our beliefs.
I've grown up around people who love photography, and I think from being photographed for so long, I always wanted to understand how it worked, and I've been fortunate enough to be photographed by some really wonderful photographers, and so I learnt a lot from them, and I always ask them questions.
I think all photographers fit their vision to their personality.
After the fall of the Soviet Union, if you start the clock, then 47 journalists, reporters, cameramen, photographers have been killed in Russia since the fall of communism. That makes it the third most deadly country on Earth to practice journalism. That's not a record to be proud of.
If photographers are responsible for creating or reflecting an image of women in society, then, I must say, there is only one way for the future, and this is to define women as strong and independent. This should be the responsibility of photographers today: to free women, and finally everyone, from the terror of youth and perfection.
I know most of the photographers in Ireland. And if I don't want my photograph taken, they will leave me alone.
Most of my friends are in the industry - photographers, models, stylists, and social media kids.
I'm self-taught and emailed photographers I knew if I had questions I couldn't figure out from the manual or online.
I believe Photoshop is in some way the contemporary darkroom, the creative area that all photographers have available today.
Designers and photographers still want to work with me and I'm grateful for that. I don't know how long I'll carry on - as long as they'll have me.
I think a way that feminist photographers work is turning what was the object into the subject and really making it our own.
I grew up with the media circus. My whole life. My parents were very calm about the photographers, the fans, and all that. But I understood right away that I hadn't done anything to deserve that attention. No matter what happens, it will be there. I didn't choose it. You just can't take that too seriously. You need to live your life. And stay calm.
What amazes me is that you can have 10 different photographers in the same room, and you see 10 different rooms. You realize how much of it is the person's perspective rather than the situation itself.
Rex has photographers around the world - it's a higher touch business: there are a lot of relationships involved. If you throw an event, there are certain photographers you've worked with before and you want there.
Being a celebrity, you always get really good seats to sporting events, but you never get as good seats as the photographers get. And I really love sports.
I love working with photographers.
I love the process - collaborating with the photographers, traveling, and seeing different cultures. My mother always said I would regret it if I didn't do it. And I think she was right.
