A Quote by Erin Siegal McIntyre
My responsibility as a photographer, to my subjects, is to know what's going to happen with my images.
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It is every photographer's responsibility to discover new images and a new personal way of looking at things. If he can do this his pictures will command attention and have surprise quality.
I know a dramatic role is going to happen, but you just got to be patient, you know? It's going to happen when it's supposed to happen. I'm not rushing it. I'm not trying to make it happen tomorrow.
In some areas, [Getty Images has] more images than the rest of the market put together. But libraries are being built up at a terrific pace. A photographer in a lifetime will produce maybe a million images, and there are about 15,000 professionals at work out there.
Being a digital photographer I'm in awe of the older generation of photographers who created all those iconic cinematic style images on film, such as Man Ray's portrait of the photographer Lee Miller.
A photographer who wants to see, a photographer who wants to make fine images, must recognize the value in the familiar.
Well, I'm not going to get into that. I think that those kind of distinctions and lists of titles like "street photographer" are so stupid. I'm a photographer, a still photographer. That's it.
In male-driven [films], the protagonist is not the person who's necessarily in harms way. There's a sense that they're going to figure out how to persevere and take on the obstacles and foes and you don't necessarily know if that's going to happen with the subjects of love stories.
I am a photographer who likes to make images, but I also want to get a sense and understanding of images that have already been made. I don't fabricate worlds; I pay attention to the things that already surround us.
The way that I look at it is that, when we film for eight months straight for a new 'Jackass' movie, I know that I'm going to wind up with at least two broken bones. I don't know when it's going to happen, but you can't contemplate how you're going to fall and what's going to happen.
I start writing, pull whatever images happen to occur to me and make up a story, instead of starting with details that are real and I know of and going from there.
And only the photographer himself knows the effect he wants. He should know by instinct, grounded in experience, what subjects are enhanced by hard or soft, light or dark treatment.
When I left Africa in 1966 it seemed to me to be a place that was developing, going in a particular direction, and I don't think that is the case now. And it's a place where people still kid themselves - you know, in a few years this will happen or that will happen. Well, it's not going to happen. It's never going to happen.
Comedy has a responsibility to be a voice of society, so within that, there's always going to be those that talk about those subjects and things that are going on in the world.
I think everything can be painted because painting can change reality; but everything cannot be photographed and the photographer often comes home empty-handed, with images which (often) have a documentary interest, but which rarely go further than that. One has to be completely available, very tenacious and admit that many subjects won't give any results... and a miracle sometimes happens, without warning.
The images which the [press] photographer has filtered from reality, whether particular events or the anguish of human reactions to them, already bear a stamp of authenticity which the photographer is powerless to alter by one jot or tittle; the meaning of the objects, by a process of purification, itself becomes the theme of the work.
And it's best if you know a good thing is going to happen, like an eclipse or getting a microscope for Christmas. And it's bad if you know a bad thing is going to happen, like having a filling or going to France. But I think it is worst if you don't know whether it is a good thing or a bad thing which is going to happen.
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