A Quote by Tina Barney
I know now that before I take a picture I have to be sure about how I feel about the subjects. What I don't know is if I should explain to them what I'm doing while I'm photographing them.
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I just really care about what people see. I want them to know that I'm working hard for this. The artists that I look up to like, you know, Michael, Prince, James Brown. You watch them and you understand that they're paying attention to the details of their art. And they care so much about what they're wearing, about how they're moving, about how they're making the audience feel. They're not phoning it in. They're going up there to murder anybody that performs after them or performs before them. That's what I've watched my whole life and admired.
Incidentally, part of a photographer’s gift should be with people. You can do some wonderful work if you know how to make people understand what you’re doing and feel all right about it, and you can do terrible work if you put them on the defense, which they all are at the beginning. You’ve got to take them off their defensive attitude and make them participate.
[The most important factor in making a good picture is] to know who or what you are photographing. It is not about photography; it should be about life.
I really don't like to go for the stereotypes. I try to give you characters that you don't know until you get to know them, and [decide] how you should feel about them.
A picture is what it is and I've never noticed that it helps to talk about them, or answer specific questions about them, much less volunteer information in words. It wouldn't make any sense to explain them. Kind of diminishes them. People always want to know when something was taken, where it was taken, and, God knows, why it was taken. It gets really ridiculous. I mean, they're right there, whatever they are.
I think when you're photographing - when anybody's photographing another person in a private situation, it's a kind of a seduction but it's not always a sexual seduction... I feel like when Jack [Welpott] was doing it, it was a sexual seduction and when I was doing it, it was more of a psychological seduction in order to get them to cooperate with me... Not because I wanted them to spread their legs or... be, you know, Wanna sleep with me? , or whatever.
The only way to resonate at a level that persuades is to know who you are addressing. If it's true that the Audience is the hero, you need to spend time thinking about them. Really getting to know them to the point it feels like they are a friend. May times we picture our audience as a large clump of strangers. Instead, you need to picture them as individuals standing in line to have a personal conversation with you. It's easy to persuade a friend, you need to think about your audience until you know them as a friend.
What I know is the characters in a Southern town. I know the cadence of the language and the voice of Atlanta because I've lived here for so long. And I know the neighborhoods, and I hopefully know the people, and I feel a connection to them. And I also feel like I'm honoring them when I talk about them.
The hardest stories we tell are always about ourselves. How do you explain that you have been missing your mother for 20 years? I don't know how to explain that to you. I wasn't even sure I wanted to film that, because I don't know how I felt about it. I didn't want to put her through it, and I frankly wasn't ready. Because since I was 16, I just had created my own life for myself, you know? I left when I was 12. I'm 32. And I have gotten to know my mother more through editing her and looking and watching and editing her footage, you know.
It's not so much about form versus functionality. Rather, it's about doing both and doing them a lot and doing them well-and that's how we should be talking about architecture.
I think one of the things about being around for a while and getting to know yourself is that when you do have these positive experiences, you don't take them for granted - you identify them and you make the most of them. I don't know - it's kind of cool getting old in a lot of ways.
Now that I have a daughter, I've been thinking about how I'll define beauty to her. I watched a video of Kendall when she was three, and she was putting on makeup. I don't know how I feel about that. But my daughter already watches me do it. When do you let them start wearing it? I don't know yet.
Ever wonder how much patience you should have with someone, you know, before you lose your temper? Infinite. But careful now. That doesn't mean you have to wait for them, stay with them, or hang around them. Lord no, it just means that for as long as you choose to keep them in your life, understanding them, not changing them, is everything.
All ages have said and repeated that one should strive to know one's self. This is a strange demand which no one up to now has measured up to and, strictly considered, no one should. With all their study and effort, people are directed to what is outside, to the world about them, and they are kept busy coming to know this and to master it to the extent that their purposes require. . . . How can you come to know yourself? Never by thinking, always by doing. Try to do your duty, and you'll know right away what you amount to. And what is your duty? Whatever the day calls for.
The vermin explain their sin with sanctimonious language like, "We've prayed about it and sought counsel, and we feel it's the right thing to do." Don't let it down on them that to the Enemy what they feel is inconsequential. His moral laws don't give a rip about how any of them feel. The sludgebags have no more power to vote them in and out of existence than they have power to revoke the law of gravity.
It's really more about the moment than it is the award. You know how trophies are, you don't really think about them after a while. It's more about the moment of being encouraged to keep doing what you're doing that keeps you going.
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