I could spend my whole life photographing circuses. They combine everything I'm interested in - they're ironic, poetic, and corny at the same time. There's also something about a circus that's magical, sentimental, and almost tragic, like a Fellini film.
I used to take circus lessons. I dreamt of being picked up in the street because they saw me doing something circus-like.
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.
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.
The future, for me, is romantic, I don’t understand people who say the past is romantic. Romantic, for me, is something you don’t know yet, something you can dream about, something unknown and mystical. That I find fascinating.
I've said it from the very beginning: Fighting the best guys in the world doesn't pay as good as the circus. I want to join the circus. I'm trying to get that circus money.
It was a time after 'Lady Sings the Blues' and 'Mahogany' and all those romantic movies: I became this romantic figure on the street in a very special way.
I am myself a professional creator of images, a film-maker. And then there are the images made by the artists I collect, and I have noticed that the images I create are not so very different from theirs. Such images seem to suggest how I feel about being here, on this planet. And maybe that is why it is so exciting to live with images created by other people, images that either conflict with one's own or demonstrate similarities to them.
There is something very unstabilizing about not knowing where you're coming from or where you're going. There's something very romantic about it, because you have this search for the unknown. But at the same time, sometimes I'm like, "God, if I were to die tomorrow, where would I like to be buried?" I wouldn't know. That's kind of a heavy thought, but it's a fact. You don't know anymore where you belong.
I went to art school, wanting to be a painter and then I got into photography. Then it was movies, and I liked the images. One of the things that interested me in film was that I was communicating in images. That was something I did intuitively and could not even talk about until I started having to do interviews.
I am not at all interested in theories about cinema. I am only interested in images and people and sound. I am really a very simple person.
I was always introduced as the Beatles photographer and I gave it up in the end. I was so unsure of myself. Am I good or am I just the Beatles photographer? People were not interested in what I did before. I could not stand it any more.
I've never not been sure that I was a photographer any more than you would not be sure you were yourself. I was a photographer, or wanting to be a photographer, or beginning - but some phase of photographer I've always been.
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.
You do your work as a photographer and everything becomes past. Words are more like thoughts; the photographer's picture is always surrounded by a kind of romantic glamor - no matter what you do, and how you twist it.
I used to live in a hostel with Bihari roommates. They used to be very excited about getting their pictures clicked, and since there weren't any mobile phones back then, they used to have a photographer accompany them everywhere. Thus, my character's personality and the photographer were incorporated into 'Dabangg.'