A Quote by Terry Richardson

Like Robert Mapplethorpe, Helmut Newton, and so many others before me, sexual imagery has always been a part of my photography. — © Terry Richardson
Like Robert Mapplethorpe, Helmut Newton, and so many others before me, sexual imagery has always been a part of my photography.
I didn't do well in high school, but I took photography, and I loved being able to capture moments. It led to more and more photography, and fashion was the angle into photography for me. It was incredible to see photographs by Irving Penn or Helmut Newton. I was really intrigued by that, and that's what led me to New York City.
Mapplethorpe presented the body as a sexual object, separating it from the humanity of the person. He added nothing to photography as a medium. I hold his work in low regard.
Robert Mapplethorpe asked me to write our story the day before he died. I had never written a book of nonfiction, and so it took me almost two decades to write that book.
There was always Helmut Newton coffee table books around when I was growing up.
I was always looking at Helmut Newton photos with the Le Smoking suit and Stella Tennant in Self Service magazine. It was never just about an ultrafeminine woman for me.
There are a lot of photographers who have influenced me; some of the great ones, like Herb Ritts, Helmut Newton, and [Alfred] Stieglitz. I draw from all of them. You're supposed to steal from the good ones.
I like the drawings. And as a photography fan myself, I would look at Helmut Newton or Irving Penn and like to see the initial notes or drawings, to see where the ideas grew from. Also my sketches are key to my work because I came to realise early on that by doing drawings, I could formulate a plan of what I was thinking of - I could take control and direct the work.
From childhood my mother had me examining Robert Mapplethorpe's style and Egon Schiele's framing - that's what modelling is about.
To me, the magic of photography, per se, is that you can capture an instant of a second that couldn't exist before and couldn't exist after. It's almost like a cowboy that draws his gun. You draw a second before or after, you miss and you're dead - not them. To me, photography's always like that.
To me, photography is 90% a retrospective experience. There's the part of pursuing the image, and exposing the film, but once you make the exposure, you're always looking backwards in time. I like that aspect of photography.
A very high bar has been set with Robert Downey in 'Iron Man.' That idea was, find the best actor for the part, regardless of whether they've been in a movie like this before.
I like to undress women - not to dress them. You know, like Manet's 'Olympia' or Helmut Newton's photographs - naked women with shoes. This is what I am trying to do.
You can't work on that scale without trust. I learned that from working with Robert Mapplethorpe.
He found it was as easy to hurl beauty as anything else. (On Robert Mapplethorpe)
Robert Mapplethorpe, I met in 1967. He was a student at Pratt, though even as a student a fully formed artist. We went through many things in our life together. He became my loved one, then my best friend.
I've always been fascinated by real scientists - Albert Einstein, Isaac Newton, and so many others - how they've come up with solutions to very complicated problems that nobody else can seem to figure out.
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