A Quote by Platon

I'm a portrait photographer that's used to shooting celebrities, and I usually need time and all kinds of lights and a studio to set up my shots. — © Platon
I'm a portrait photographer that's used to shooting celebrities, and I usually need time and all kinds of lights and a studio to set up my shots.
When I first asked to take pictures of women at their homes, I was using my formal camera and I struggled to get the shots because I was still very much in the role of the photographer. Then the next time I had this little digital camera and their response to me would be completely different - I was a friend and I got new kinds of pictures. I was always treading a line between photographer and friend.
When the novice photographer starts taking pictures, he carries his camera about and shoots everything that interests him. There comes a time when he must crystallize his ideas and set off in an particular direction. He must learn that shooting for the sake of shooting is dull and unprofitable.
I've been feeling really comfortable on clay because I have more time to set up my forehand. I can use a lot of different shots - drop shots and high balls. You can mix up a lot of shots, so it's actually more fun to play on clay.
In the spirit of Vivian Maier, who worked unaided by any publication or commercial shooting, I set up the Emerging Photographer Fund
When I was working with Robert Frank, he told me that there was absolutely no relationship between cinema and photography. I challenge that. Surely what you know as a photographer must impact how you set up your shots.
Every time a film comes together, usually the studio executives come up for a day to the set. If you're out of town, they'll fly in or wherever you are - the cast, the director, the producers - all get together and have a big dinner and celebrate the fact that we're about to start shooting.
I had this vision of shooting a great white in the studio with all the edge lights I use for movie posters. I knew that I couldn't bring the great white to the studio, so I had to bring the studio to the great white.
They all knew the mothership was coming, they all knew it was a flying saucer, they all knew it came from another planet through the vacuum of space. And so what do they do, to the left of that monument? They set up runway lights. And I'm thinking, if you could travel through the vacuum of space, you don't need runway lights. Runway lights are if you're using air for lift. Aliens would not need air for lift.
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.
Every actor has their own process. For me, I really need to stay in the pocket. So, if I'm on set and I'm in character, I'm not thinking like a producer. If I'm on set and I'm not in character, wardrobe and make-up, and I'm just coming on set for the moments that I'm not shooting, then I'm able to be the producer.
I used to carry a notebook to the studio. I don't do that no more 'cause I don't have the time to write anywhere but right there in the studio on the spot. So when you hear my stuff, know that I wrote it in the studio.
Big shots are only little shots who keep shooting.
Before every game I used to go out and shot the same shots over and over and over. In the summer time I spent a lot of time just shooting. So really it just came natural. Whether it's a tie game or down by 1 or up by five, it was always the same shot. So I always felt comfortable with the ball in my hands because it was in there a million times before.
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.'
If you end up spending more time in the studio than you do on the road, that's not a good balance for me. Because I think when you're in the studio, you need to come off the road and go in the studio and that's when you're applying your best. That's when you've got the best attitude, best energy, all that stuff.
Considering the regular use of make-up and the fact that I'm under the glare of the harsh shooting lights practically all the time, I'm adamant about using really strong cleansing milk to get the make-up off my skin, and I never sleep with make-up on, however tired I am.
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