Counterterrorism analysts have known for years that al Qaeda prepares for attacks with elaborate 'targeting packages' of photographs and notes.
I take photographs with love, so I try to make them art objects. But I make them for myself first and foremost - that is important.
I ask people why they have deer heads on their walls. They always say because it's such a beautiful animal. There you go. I think my mother is attractive, but I have photographs of her.
The web continues to be a source of important photographs you see nowhere else.
But empirically I've come to understand that my photographs really don't do any harm.
I don't know how many millions of photographs have been taken of me.
We must carefully consider card security solutions, such as adding photographs or machine-readable electronic strips, so to prevent further breaches of individual privacy that could result from changes to the design of Social Security Cards.
No one could possibly look all the time like my photographs. It is dreadfully hard to live up to them. They stare at me everywhere.
Twelve significant photographs in any one year is a good crop.
I often find myself worrying about celebrities. It's an entirely caring thing; it's not like the people who commission those photographs with cruel arrows to go on the covers of the celebrity magazines. The photographs show botched plastic surgery, raging eczema, weight gain and horrible clothes for maximum schadenfreude.
No, I do a bunch of things to entertain myself. I paint, I make music, I take photographs.
Black-and-white photography, which I was doing in the very early days, was essentially called art photography and usually consisted of landscapes by people like Ansel Adams and Edward Weston. But photographs by people like Adams didn't interest me.
My photographs don't do me justice - they just look like me.
I took lots of photographs and had planned to write a treatise on how it worked, but I quickly got bored with that idea and wrote a scientific fairy tale instead.
Sometimes I've gotten photographs back and people have literally shaven off pieces of me, and I tell them to put it back.
I remembered seeing it and it was this metallic turbine and I thought it was beautiful. I had never been in a power plant before, but I felt, without being overly dramatic, compelled to make photographs of this for myself.
Travel becomes a strategy for accumulating photographs.
In 1965, I was in Trabzon in eastern Turkey on a Fulbright scholarship. I would get up every morning and walk around the streets and look for photographs.
As photographs give people an imaginary possession of a past that is unreal, they also help people to take possession of space in which they are insecure.
I still take photographs for my own use, personal studies. I do not feel that I can fully express my views through the medium and this is why I have moved towards painting.
So I went to Chicago in 1940, I think, '41, and the photographs that I made there, aside from fashion, were things that I was trying to express in a social conscious way.
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.
There are no rules for good photographs, there are only good photographs.
I touch up photos so people look as good in their photographs as they did in real life.
People taking photographs of their meals are not critics; they are from the United States.
I'm known for fashion photographs, but fashion photographs were mostly a joke for me. In 'Vogue,' girls were playing at being duchesses, but they were actually from Flatbush, Brooklyn. They would play duchesses, and I would play Cecil Beaton.
Bernard Vonnegut, named for his paternal grandfather, was born August 29, 1914. He was a serious-looking little boy, even in informal photographs.
There's a discipline. When you take someone's portrait, you don't have to take 50 photographs, just find that one so that when you release the shutter, that's the image that you took.
Not everybody trusts paintings but people believe photographs.
Typically, I spend a lot of time - mostly in the morning - kind of drifting, reading, walking down along the river, looking at photographs, or even driving around. Then, if I'm lucky, I get to work in the early afternoon, one way or another.
In the forensic science course I took at university they used photographs of dead bodies. For ballistics they showed us a guy lying on the floor, and his head had burst.
What I'm trying to do is make photographs that are universally understood... that cross cultural lines. I want my photographs to be about the basic emotions and feelings that we all experience.
My living room has an oak-wood floor, Persian carpets, floor-to-ceiling bookcases, a large ficus and large fern, a fireplace with a group of photographs and drawings over it, a glass-top coffee table with a bowl of dried pomegranates on it, and sofas and chairs covered in off-white linen.
I photographed with film for many years; now that I work in digital, the difference is enormous. The quality is unbelievable: I don't use flash, and with digital I can even work in very bad light. Also, it's a relief not to lose photographs to x-ray machines in airports.
I went to film school, trained as a director, have made a lot of movies, and taken a lot of photographs, so I tend to envision things spatially. As I'm working, I need to have a map of the space. I need to know what's happening in all corners simultaneously.
I used to have a lovely wallet with lots of different compartments where I kept photographs of my grandmother, grandfather and friends. It was stolen one night when I was out in Edinburgh, and I never got it back.
