A Quote by Alfred Stieglitz
My ideal is to achieve the ability to produce numberless prints from each negative, prints all significantly alive, yet indistinguishably alike, and to be able to circulate them at a price not higher than that of a popular magazine, or even a daily paper. To gain that ability there has been no choice but to follow the road I have chosen.
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Matte digital prints are gorgeous, don't you agree? But the glossy digital prints, I just can't stand that paper.
Even those who have renounced Christianity and attack it, in their inmost being still follow the Christian ideal, for hitherto neither their subtlety nor the ardour of their hearts has been able to create a higher ideal of man and of virtue than the ideal given by Christ of old.
Most of my work involves slowing down rather than speeding up. I prefer to look at prints than scans, and I prefer to look at original silver prints rather than digital prints. I prefer to look at fewer images, but spend time with those individual images.
A photographer needs to be a good editor of negatives and prints! In fact, most of the prints I make are for my eyes only, and they are no good. I find the single most valuable tool in the darkroom is my trash can - that's where most of my prints end up.
Photographers should make three or four prints from one negative and then crop them differently. When I was art director at Harper's Bazaar and at several agencies as a consultant, young photographers would bring me their portfolios and all the prints would be in the same standard proportions, either for the Leica or the Rolleiflex. Many times, by limiting themselves in this way, they missed the true potentialities of their photographs.
I would begin by collecting lithographs and etchings. It's a way of coming in and benefiting from real quality art. Even younger artists make wonderful prints. Prints can become very valuable. That's how I began collecting.
I have no little insight into the feelings of furniture, and treat books and prints with a reasonable consideration. How some people use their pictures, for instance, is a mystery to me; very revolting all the same--portraits obliged to face each other for ever--prints put together in portfolios.
Wearing a bold print gets harder as you get older. Its safer to stick to subtle prints or block colours. I have always found prints quite tricky. My daughter Carly, who is on the design team at Stella McCartney, is obsessed with them.
Wearing a bold print gets harder as you get older. It's safer to stick to subtle prints or block colours. I have always found prints quite tricky. My daughter Carly, who is on the design team at Stella McCartney, is obsessed with them.
My affinity for beef extends into my home life, so you'll notice canvas prints of cows, a cowhide rug and prints of Smithfield meat market.
I first met Michael Angel when he came to my office with a box of prints and asked me whether I thought he should make dresses from the prints.
As a filmmaker, you complete a film you have spent years obsessively making, and you know the release prints will never look quite the same; prints get scratched and dirty.
I'm pretty selective. I generally edit the contact sheets and then do work prints. Because I have my own lab and printers, I can afford the luxury of going through the contact sheets for black-and-white, making up work prints, seeing them big, and honing them down.
There is - you know, there's receipts for rented cars and license plates and guns and hand prints and palm prints and fingerprints. You know, I want to wait until I'm in a court.
I love floral prints for little girls, and I love mixing prints.
I've got an incredible family, I've been blessed to play a game for a living, and even more than that, I've been blessed to have the ability to play it and the ability to play two sports at the same time. There's not many people that are able to do that, so yeah, I feel very lucky.
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