Zitat des Tages über Fotografieren / Photographing:
Sometimes photographing people is like pulling teeth, trying to get some sort of personality.
Over the years, I have perfected the art of dancing and photographing at the same time: it's a great double act. If you're dancing, you are joining in. If you stand there rigid, you are not in the flow of things.
I'm Jewish and respect the traditions of Judaism, but through all the time I've spent photographing nature, I also have a deep appreciation for the power of the universe. No, not the power of the universe, but just celebrating life.
I can see myself as a very old man in a terrific wheelchair. Only, I won't be photographing the tree outside my window, the way Steichen did. I'll be photographing other old people.
I've seen my own blood and broken a few bones. I've been hit, which isn't an entirely bad thing, as at least you have a glimpse of the suffering endured by the people you are photographing. And in a sense, crumbling empires and war have been with me all my life.
To know ahead of time what you're looking for means you're then only photographing your own preconceptions, which is very limiting, and often false.
When I'm photographing, I think - like any rescue worker who deals with tragedy - you have to have some protective barrier around your heart so you can do your job. You tend to have a delayed reaction to things. I feel things more deeply after I put the camera down.
I always feel I had a very lucky life. For example, I sure didn't want to go in the army: when I was drafted in the Korean War, I wanted to go as a photographer. But luckily, they put me in the infantry - luckily because the official photographer was photographing the medal awarding and all the official situations.
I'm not photographing anything naked these days. I haven't been concentrating on bodies recently.
I told myself, 'When I grow up, I want to make pictures that can inspire and nourish people.' Immediately, when I was 10, I started photographing nature. I built a darkroom. My first really good darkroom, not just down in the cellar, was when I was 14.
I just love photographing. I don't do it for anyone else.
I never stopped photographing. There were a couple of years when I didn't have a darkroom, but that didn't stop me from photographing.
Sometimes I enjoy just photographing the surface because I think it can be as revealing as going to the heart of the matter.
I started writing and photographing for different publications and finally ended up being the correspondent in South Asia, for the Geneva-based Journal de Geneve, which at one time used to be one of the best international newspapers in Europe.
The trouble with photographing beautiful women is that you never get into the dark room until after they've gone.
I have been photographing people dancing for 20 or 30 years now, and I think I will eventually do a book of dancing photos.
I'm always mentally photographing everything as practice.
To me, that is the essence of me as a photographer. It is those ideas, working with them, formulating them and eventually putting them down on paper, photographing them and then going on to the next step.
I'm not photographing the model in the classic sense; the model is playing a part in my photographs. It's more like theater. I always work with models I know, and I let them participate in deciding how to act their part.
Born Berlin 1931, Germany, father a British diplomat, mother an American artist. Educated at various schools all over the world. 1958 Settled down to live in London. 1966 Became interested in photography through photographing my young children. No formal training.
When you first start photographing a show or being into photography, you might think it's cool to see people with their phones, like, 'It's so novel; everyone cares about this moment so much,' but then it becomes... trite, y'know, and shallow. I think the best moments of my life have been spent without phones.
My surprises come usually once I start rolling and photographing.
The interviews have gotten much longer with 'Humans of New York.' When I was first starting, I was just photographing people. And then I went to just kind of including a quote or two. Now when I'm approaching somebody on the street, I'm spending about 30 to 45 minutes with them often.
I like photographing the people I love, the people I admire, the famous, and especially the infamous. My last infamous subject was the extreme right wing French politician Jean-Marie Le Pen.
My first serious project was photographing badgers - very, very difficult as they are shy and nocturnal.
A woman said to me when she first sat down, You're photographing the wrong side of my face. I said, Oh, is there one?
The first day at the power plant I found myself photographing some steam vents on the roof of the structure. And I remember consciously thinking that they were just like trees but they were metal.
Modern American cinema seems to me superficial. The intention is to understand a certain reality, and the result is nothing but a photographing of that reality.
One of the lessons learned during the Vietnam War was that the depiction of wounded soldiers, of coffins stacked higher than their living guards, had a negative effect on the viewing public. The military in Iraq specifically banned the photographing of wounded soldiers and coffins, thus sanitizing this terrible and bloody conflict.
People tracking your life and photographing you anywhere you go, that can make you crazy.
I just think it's important to be direct and honest with people about why you're photographing them and what you're doing. After all, you are taking some of their soul.
Photography is very presumptuous. Photographers are always photographing other people's lives - something they know nothing about - and drawing great inferences into it.
What I mean by photographing as a participant rather than observer is that I'm not only involved directly with some of the activities that I photograph, such as mountain climbing, but even when I'm not I have the philosophy that my mind and body are part of the natural world.
I've been working with the land for most of my life; walking it and photographing it. And I love it to bits.
If you're really in the process of photographing, you are absolutely aware. You are looking.
I never went to school for photography and started when I was pretty young. I was somewhere around 12 or 13. I started photographing as a hobby and carried that hobby through high school and university.