A Quote by Andy Summers
The thing about photography is, some people surround themselves with extremely strong subject matter. And unless you're a moron, you're going to get a really strong photograph.
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I had to be extremely strong to fight off Mr Hitchcock. He was so insistent and obsessive, but I was an extremely strong young woman, and there was no way he was going to get the better of me.
If I photograph you I don't have you, I have a photograph of you. It's got its own thing. That's really what photography, still photography, is about.
Look at the things around you, the immediate world around you. If you are alive, it will mean something to you, and if you care enough about photography, and if you know how to use it, you will want to photograph that meaningness. If you let other people's vision get between the world and your own, you will achieve that extremely common and worthless thing, a pictorial photograph.
I don't think that there's anything that we shouldn't be allowed to photograph, really, unless there's something that's really deeply harmful to the subject in the photograph.
I think strong rhetoric and strong action are two separate things. Anyone can use tough words. Anyone can go over the top and say things that sound strong. But sounding strong is not enough. You have to know exactly how you're going to do it. And if you look at some of the policies he's talked about, they would not make America stronger.
I noticed in the past, a lot of guys who like strong women, they really freak out if you're not strong 24/7. Or they complain about you being strong, then the moment you're not strong, they're like, 'Oh, no, no, no.'
Humor is such a strong weapon, such a strong answer. Women have to make jokes about themselves, laugh about themselves, because they have nothing to lose.
Documentary photography is becoming more illustrative as people become more familiar with photography’s limitations and vulnerabilities. Reality has always been interpreted through layers of manipulation, abstraction, and intervention. But now, it is very much on the surface. I like this honesty about its dishonesty. Every photograph has many truths and none. Photographs are ambiguous, no matter how seemingly scientific they appear to be. They are always subject to an uncontrollable context. This is a tired statement, but worth repeating.
Unless children have strong education and strong families and strong communities and decent housing, it's not enough to go sit in at a lunch counter.
My mother is such an incredibly strong woman. She raised a family of five boys extremely well. She made us all strong, loving, caring people. We all support each other. I'm really thankful to her.
When I'm looking for a strong female character, or a strong character at all, I'm looking for a character that has a purpose in that story, that has an interior life of some sort. They don't have to be physically strong; they don't have to be morally strong or ethically strong, because men and women come in a huge variety of all of those things. Emotionally, ethically - I'm less concerned with that. I just don't want them to be props. That's the only thing that offends me.
I think you reveal yourself by what you choose to photograph, but I prefer photographs that tell more about the subject. There's nothing much interesting to tell about me; what's interesting is the person I'm photographing, and that's what I try to show. [...] I think each photographer has a point of view and a way of looking at the world... that has to do with your subject matter and how you choose to present it. What's interesting is letting people tell you about themselves in the picture.
Press information is serious information, but press information is also manipulated by people who want you to think that this and that happened. So it's the old thing that you still cannot trust photography at all or you have to know who is distributing the photograph. In terms of cell phone photography, I think nobody cares about a photograph anymore because they're taking so many pictures just for fun.
My knee is as strong as it was before, if not stronger, and it's a matter of getting my leg strong. I lost six years of strength in about six month's time, so it's going to take another year or two to get that leg back up to full strength, but I'm good to go so far.
I have a really strong suspicion of the romantic nature of portraiture, the idea that you're telling some essential truth about the interior lives of your subject.
It's possible to think of photography as an act of editing, a matter of where you put your rectangle pull it out or take it away. Sometimes people ask me about films, cameras and development times in order to find out how to do landscape photography. The first thing I do in landscape photography is go out there and talk to the land - form a relationship, ask permission, it's not about going out there like some paparazzi with a Leica and snapping a few pictures, before running off to print them.
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