...the world has become a photographable present, and the photographed present has been entirely eternalized. Seemingly ripped from the clutch of death, in reality it has succumbed to it.
I've grown up around people who love photography, and I think from being photographed for so long, I always wanted to understand how it worked, and I've been fortunate enough to be photographed by some really wonderful photographers, and so I learnt a lot from them, and I always ask them questions.
Photography is linked with death in many different ways. The most immediate and explicit is the social practice of keeping photographs in memory of loved beings who are no longer alive. But there is another real death which each of us undergoes every day, as each day we draw nearer to our own death. Even when the person photographed is still living, that moment when she or he was has forever vanished.
What has changed is that when I photographed, most people that I photographed didn't have the right of refusal on their work. It would take a Marilyn Monroe at her height to be able to dictate that.
The line between the reality that is photographed because it seems beautiful to us and the reality that seems beautiful because it has been photographed is very narrow.
When I was photographed, I didn't feel I was acting. I just felt I was being photographed. It sort of taught me things about myself that I didn't know and was trying to find out.
When I was being photographed, I always felt very much in my own skin. That's probably one of the reasons why I enjoy being photographed.
Photography is an elegiac art, a twilight art. Most subjects photographed are, just by virtue of being photographed, touched with pathos.
Before I was a mother, if I'd been photographed in a bikini, I'd have been mortified.
When you are 18, 19, 20, you're used to being photographed all the time, in a certain way. So, the narcissism becomes almost out of control. And the way that young women are photographed, they become addicted to this feedback of the image.
I just yesterday returned from a trip where I photographed a woman with two children whom I photographed first when she was the age of the older of the two children.
Freaks was a thing I photographed a lot. It was one of the first things I photographed, and it had a terrific kind of excitement for me. I just used to adore them. I still do adore some of them.
I've always photographed beauty, but I've never been beautiful myself.
Rosencrantz: We might as well be dead. Do you think death could possibly be a boat? Guildenstern: No, no, no... Death is...not. Death isn't. You take my meaning. Death is the ultimate negative. Not-being. You can't not-be on a boat. Rosencrantz: I've frequently not been on boats. Guildenstern: No, no, no--what you've been is not on boats.
There is to me about this place a smell of rot, the smell of rot that ripe fruit makes. Nowhere, ever, have the hideous mechanics of birth and copulation and death -those monstrous upheavals of life that the Greeks call miasma, defilement- been so brutal or been painted up to look so pretty; have so many people put so much faith in lies and mutability and death death death.
Anytime I've been photographed with a glass of champagne in my hand, it's really Red Bull.