A Quote by Princess Stephanie of Monaco

We try never to have pictures of our children in the magazines, because there are strange people out there. But the paparazzi try to steal pictures. — © Princess Stephanie of Monaco
We try never to have pictures of our children in the magazines, because there are strange people out there. But the paparazzi try to steal pictures.
I remember that even my first impression of Italian cinema was pictures by paparazzi because my mom was reading all of these trash magazines with paparazzo pictures.
I don't put pictures of my children on, rarely, I think I've done it twice? I'm thoughtful about that, because I don't think you can get it back, and I don't think it's fair to people to try to convey a desire to maintain some privacy and then share pictures and expect that somebody else won't want the same ability.
I try and keep my pictures as natural as possible and try not to use too many filters, because now, it is such a world of making everything look so perfect, that in fact, it is the imperfections in people that are really unique and special. So, I try and get that across to people.
So when I looked at pictures and produced my calendar and edited the pictures, it wasn't just about looking at myself and thinking I'm attractive. I try to take myself out of it and get into the whole process of putting it all together.
I collected pictures and I drew pictures and I looked at the pictures by myself. And because no one else ever saw them, the pictures were perfect and true. They were alive.
I have been heavily criticized in the past at magazines for my black-and-white photography and the aggressive punch - I prefer to call it strong emotion - to the pictures. When everything is virtually disposable I feel these pictures really stand out.
To an ever greater extent out experience is governed by pictures, pictures in newspapers and magazines, on television and in the cinema. Next to these pictures firsthand experience begins to retreat, to seem more and more trivial. While it once seemed that pictures had the function of interpreting reality, it now seems they have usurped it. It therefore becomes imperative to understand the picture itself, not in order to uncover a lost reality, but to determine how a picture becomes a signifying structure of its own accord.
There's this thing that publishes pictures of people out and about. So when I go out, I do see pictures of myself. I don't know where those pictures come from - I mean, I don't see the cameras. But I guess I'm just not looking for them.
Men's magazines often feature pictures of naked ladies. Women's magazines also often feature pictures of naked ladies. This is because the female body is a beautiful work of art, while the male body is hairy and lumpy and should not be seen by the light of day.
Pictures! Pictures! Pictures! Often, before I learned, did I wonder whence came the multitudes of pictures that thronged my dreams; for they were pictures the like of which I had never seen in real wake-a-day life. They tormented my childhood, making of my dreams a procession of nightmares and a little later convincing me that I was different from my kind, a creature unnatural and accursed.
I was never the girl who tore pictures out of wedding magazines.
I never do pictures that I've done before - but I really try not to. Whenever I get an assignment I try to think how to shoot this person for this story in this magazine at this point in time.
My first wedding was 15 people at our condo. The second was maybe about a hundred people at this fabulous casino. And you know what? I have almost no pictures of the second one, because I put disposable cameras on the tables, because everyone said, "The best pictures are the most candid! The best pictures are the ones people just take!" So, I put disposable cameras on the tables, and guess what? There were so many kids there that those cameras were stomped on. I had so many pictures of the floor, of people's eyes, of someone's finger.
It would be so easy to lose the plot now. It's not about achieving something for its own sake, and taking pictures for their own sake. But to make conscious decisions and choices, and it includes this constant questioning - Why am I taking pictures? Because really, the world is... it has pictures enough. I mean, there are enough pictures out there.
We take pictures because we can't accept that everything passes, we can't accept that the repetition of a moment is an impossibility. We wage a monotonous war against our own impending deaths, against time that turns children into that other, lesser species: adults. We take pictures because we know we will forget. We will forget the week, the day, the hour. We will forget when we were happiest. We take pictures out of pride, a desire to have the best of ourselve preserved. We fear that we will die and others will not know we lived.
I never really felt free to talk a lot about my family life because I don't want to sacrifice anybody else's privacy. If you look through the archives, you will see, for example, no pictures of my children. That is not because I don't love them. I think I've been a really good dad; at least, I try to be.
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