Because I was traveling a lot during the '70s, the only thing I could do on the road was take photographs, so there wasn't much painting during those years.
You can't see fear or lust; you can't photograph someone's anxieties, how disappointment feels. Photographs are approximations.
You can get anything from Mozilla Firefox-based themes to nature themes to your own photographs.
One study found that people who smile in childhood photographs are less likely to get a divorce.
My appearances are almost theatrical performances. I bring items for the children to see, such as photographs and actual piece of meteorite, a family quilt, sometimes spectacles, sometimes clothing, so that they can understand what I write about is family stories based in fact.
Everything rational and sensible abandons me when I try to throw out photographs. Time and time again, I hold one over a wastebasket, and then find it impossible to release my fingers and let the picture drop and disappear.
My great-grandfather was in the army in India, and we have photographs of my family there in full Victorian dress. They're incredibly romantic.
Our dreams are made of real things, like a shoebox full of photographs.
I think people are more apt to believe photographs, especially if it's something fantastic. They're willing to be more gullible. Sometimes they want fantasy.
I find still photographs make me quite self-conscious.
I make photographs and still make photographs of the natural environment. It's a love because that was part of my life before I was involved in photography.
The camera photographs what's there.
I've done a couple of conferences where you sit and sign autographs for people, and then you have photographs taken with them and a lot of them all dressed up in alien suits or 'Doctor Who' whatevers. I was terrified of doing it because I thought they'd all be loonies, but they are absolutely, totally charming as anything. It's great fun.
I don't take any photographs. I travel a lot by myself, and I feel weird taking photos on my own.
'Woman on the Plaza,' with its distinct horizon, snow-like surfaces, wintry wall, stunning sunlight, sharp shadows, and hurrying figure, would become the most biographical of my photographs - an abstract image of the landscape and life of northern Ohio where I grew up and first practiced photography.
You just feel like you're doing a job that you want to be doing, and then one day, somebody asks you a question like that: 'What's it like to be famous?' It doesn't really mean anything. The only difference is some people stop you and ask you for photographs.
I have photographs taken of me at the time I was addicted, and thought I looked good. I see them today and realize my eyes were dead.
I remember taking photographs as the local Gauleiter, Albert Forster, harangued huge crowds of Germans in the evenings with a big swastika flag in the background.
Steichen bought my first photographs that I ever sold. He recognized the style from the school of Black Mountain. After that, it was about twenty years before I sold another photograph.
Obviously I am a photographer and I believe in my medium: I do think that powerful photographs can force change. It doesn't take long to look and be engaged in a strong image whereas, with a story, you have to actually sit down and pause and be involved in it.
Sepia in particular tends to make everything look a bit romantic and almost sentimental, hence the fact that it remains such a popular choice for wedding photographs.
I feel like I need to start wearing a T-shirt saying 'This is not a photo opportunity'. People are so lovely but you do find that when you're out you spend 40% of your time posing for photographs.
I started collecting aerial photographs of Native American and South Pacific architecture; only the African ones were fractal. And if you think about it, all these different societies have different geometric design themes that they use. So Native Americans use a combination of circular symmetry and fourfold symmetry.
I do not like bad photographs. I don't like to be badly lit. There is a fashion, particularly on stage, for very 'toppy' lighting, which makes a child look 50. Ten o'clock is very good. If someone is taking a picture, you say, 'Lamps at 10 o'clock,' then everybody looks lovely.
Sex is not a subject in my photographs, or would only be if it had to do with romance, sometimes vulnerability. The photographs are quite clearly about happiness, or search for happiness.
I believe it was probably less than ten minutes that went by from the invention of photography to the point where people realized that they could lie with photographs.
I was on holiday recently and I came home to find that one of the papers here had 'bikini'd' me on the beach. I was wearing a grossly unflattering costume and they had published photographs of me taken from behind. I looked dreadful. I went into our local newsagent and bought up every copy.
In Majorca, I can be myself. I go to the supermarket and the cinema, and I am just Rafa. Everyone knows me, and it is no big deal. I can go all day - no photographs.
If there is any jarring at all in my photographs, it's because we are so used to ingesting pictures of everywhere looking beautiful.
I really like the structure of my body. It moves well, it looks good, it photographs well, it understands gesture and nuance.
I always take photographs when I attend a funeral. Most people there know who I am and expect me to be there with my camera.
I was spoiled growing up in the 1970s because magazines were publishing the photographs of Helmut Newton and Guy Bourdin without compromise. You really felt that sense of freedom through their images.
I never thought I was particularly good looking. But when I see old photographs, I realise that I was. I do wish I had known that at the time because beauty is power. I didn't realise how lucky I was to be young, beautiful and in Hollywood. It didn't hit me. Every day I woke up, went to the film studio and just got on with it.
The content of Saul Leiter's photographs arrives on a sort of delay: it takes a moment after the first glance to know what the picture is about. You don't so much see the image as let it dissolve into your consciousness, like a tablet in a glass of water.
Americans are always mortified when I tell them this, but in England, it's a tradition to put your plaques and photographs and awards and gold records and stuff in your bathroom. I don't know why.
I look back at old photographs and videotapes, and I go, Who was I trying to be? Who was I doing this for?