A Quote by Albert Watson
It doesn't matter if you're photographing a porter in a market in Marrakech or you're photographing the king of Morroco. You have the same sympathetic approach to everybody. You be nice to everybody, basically.
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People aren’t photographing for history any more. It’s for immediate gratification. If you’re photographing to share an image, you’re not photographing to keep it.
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.
Ultimately, the reward is the process - the process of photographing and discovering and trying to understand why and what am I photographing.
There is no one way of photographing anything. I don't believe there is even one best way of photographing any given subject.
It doesn’t matter if you use a box camera or a Leica, the important thing is what motivates you when you are photographing. What I have tried to do is involve the people I was photographing. To have them realize without saying so, that it was up to them to give me whatever they wanted to give me . . . if they were willing to give, I was willing to photograph.
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.
When I'm photographing, I don't have that kind of nonsense running around in my head. I'm photographing. It's irrelevant in the end, so it doesn't mean a thing. It's not going to make me do better work or worse work as I can see it now.
I think the best pictures are often on the edges of any situation, I don't find photographing the situation nearly as interesting as photographing the edges.
When you're photographing anything to do with war and conflict you're photographing something impossible. Everything you do is just clumsy and stupid and half witted. Because it is impossible to portray the full width and breadth of everything that you are up against.
Noon-day sunshine cinema-ized the site, turning the bridge and the river into an over-exposed picture. Photographing it with my Instamatic 400 was like photographing a photograph. The sun became a monstrous light-bulb that projected a detached series of stills through my Instamatic into my eye.
When you're working on a film, it's almost like photographing paintings at a museum. You're photographing somebody else's world. I just try and interpret it and make it real, and make it what the actors are about, what the director is about, and what the film is about.
I hate having my photograph taken and I try to keep that in mind when I'm photographing other people. But the best photos that I've taken are the ones when people have forgotten that I'm there. If I'm in a recording studio with a musician, for example, maybe I'm not photographing them in the middle of a take but I can just get that stolen moment of them resting and they glance over to me.
I earned my share same as everybody. Well, I coulda got killed same as everybody. And I'm wanted by the law same as everybody. I'm a nervous wreck, and that's the truth. I have to take sass from Miss Bonnie Parker all the time. I deserve mine.
Photography has a relation to intervention, but photographing is not the same as an intervening.
Everything on Saturday morning [cartoons] moves alike that's one of the reasons it's not animation. The drawings are different, but everybody acts the same way, their feet move the same way, and everybody runs the same way. It doesn't matter whether it's an alligator or a man or a baby or anything, they all move the same.
Everybody likes the underdog, because everybody feels like the underdog. No matter how successful you are, you always think, No one's being nice enough to me!
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