A Quote by Hedi Slimane

Mostly the subject of the photograph, which can be anyone really, coming down the street - someone that has no idea. "Heroism" in photography, just like in a novel, is for everyone.
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.
When I say I want to photograph someone, what it really means is that I'd like to know them. Anyone I know I photograph.
I took to photography like a duck to water. I never wanted to do anything else. Excitement about the subject is the voltage which pushes me over the mountain of drudgery necessary to produce the final photograph.
Photographers tend not to photograph what they can’t see, which is the very reason one should try to attempt it. Otherwise we’re going to go on forever just photographing more faces and more rooms and more places. Photography has to transcend description. It has to go beyond description to bring insight into the subject, or reveal the subject, not as it looks, but how does it feel?
I think it is quite wrong to photograph, for example, Garbo, if she doesn't want to be photographed. Now I would have loved to photograph her, but she obviously didn't want to be photographed so I didn't follow it up. Then somebody will photograph her walking down the street because she has to walk down the street, and I mind that sort of intrusion. I think this is horrible.
I teach students that what people say about failure in politics is mostly wrong. People always told me, 'They'll praise you on your way up and kick you on your way down.' That wasn't my experience. I can't walk down the street in Toronto without someone coming up and saying hello.
If you pay attention, everyone is a novel. The most boring person, if you sit down and really listen, is someone interesting.
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.
Nobody's going to say hello to me in the street, really, because there'll be someone a bit more famous coming along the street in a minute. That typifies London, really.
When I teach a class I often give the assignment: Photograph someone you love. I ask people to do this so they have a subject about whom they have feelings, a subject that is more than a model, or an object, or a shape, or an idea. In this way, they can judge the result not only by its technical success, but also by how well it describes their feelings.
I don't really know what the Great American Novel is. I like the idea that there could be one now, and I wouldn't object if someone thought it was mine, but I don't claim to have written that - I just wrote my book.
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 am at war... with the principal personage of traditional philosophy, that abstract subject who masquerades as everyone and anyone, but is really a male subject in disguise.
Everyone is a bit nosey. It's like if you walk down the street and someone has their blinds open, you look in.
I like to look at American and European street style. Basically, I look at things I like and want to buy, just like everyone else. But having said that, I think that it can be a bad idea to pay too close attention to someone else's total look.
The subject gives you the best idea of how to make a photograph. So I just wait for something to happen.
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