A Quote by Richard Avedon
I can see myself as a very old man in a terrific wheelchair. Only, I won't be photographing the tree outside my window, the way Steichen did. I'll be photographing other old people.
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People aren’t photographing for history any more. It’s for immediate gratification. If you’re photographing to share an image, you’re not photographing to keep it.
...I started photographing myself, and found that I could see portions of myself that I had never seen before. Since I face just my face in the mirror, I know pretty much what it's like. When I see a side-view I'm not used to it, and find it peculiar... So, photographing myself and discovering unknown territories of my surface self causes an interesting psychological confrontation.
There is no one way of photographing anything. I don't believe there is even one best way of photographing any given subject.
When I'm photographing, I don't have that kind of nonsense running around in my head. I'm photographing. It's irrelevant in the end, so it doesn't mean a thing. It's not going to make me do better work or worse work as I can see it now.
I never stopped photographing. There were a couple of years when I didn't have a darkroom, but that didn't stop me from photographing.
I hate having my photograph taken and I try to keep that in mind when I'm photographing other people. But the best photos that I've taken are the ones when people have forgotten that I'm there. If I'm in a recording studio with a musician, for example, maybe I'm not photographing them in the middle of a take but I can just get that stolen moment of them resting and they glance over to me.
Once I was looking through the kitchen window at dusk and I saw an old woman looking in. Suddenly the light changed and I realized that the old woman was myself. you see, it all happens on the outside; inside one doesn't change.
Snapshots that have been taken of me working show something I was not aware of at all, that over and over again I'm holding my own body or my own hands exactly like the person I'm photographing. I never knew I did that, and obviously what I'm doing is trying to feel, actually physically feel, the way he or she feels at the moment I'm photographing them in order to deepen the sense of connection.
It doesn't matter if you're photographing a porter in a market in Marrakech or you're photographing the king of Morroco. You have the same sympathetic approach to everybody. You be nice to everybody, basically.
Ultimately, the reward is the process - the process of photographing and discovering and trying to understand why and what am I photographing.
I suppose you think that persons who are as old as your father and myself are always thinking about very grave things, but I know that we are meditating the same old themes that we did when we were ten years old, only we go more gravely about it.
I think the best pictures are often on the edges of any situation, I don't find photographing the situation nearly as interesting as photographing the edges.
Fame it's like... When you look through a window, say you pass a little pub, or an inn. You look through the window and you see people talking and carrying on. You,can watch outside the window and see them all being very real with each other. But when you walk into the room, it's over. I don't pay any attention to it.
When you're photographing anything to do with war and conflict you're photographing something impossible. Everything you do is just clumsy and stupid and half witted. Because it is impossible to portray the full width and breadth of everything that you are up against.
I'm very involved in photographing America now, so I don't think of faraway places, as I did when I was young.
When I started photographing my boyfriend of years ago, Brian, I realised I had no right to photograph other people having sex if I wasn't prepared to take them of myself too
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