A Quote by Tina Knowles

I don't post pictures of my grandchildren unless I get permission. I'm really respectful about that. If I feel like anything is invasive of someone's privacy, I don't do that, either. Sometimes I have great pictures, but I'm like, 'Eh, maybe this is not right.'
Not all pictures but some pictures you're like, "Wow, I wish I could be there" or you feel like you are there. I don't know what it is about cinematography.
If you're posting pictures to platforms like Instagram or Twitter, be selective about the one you post. If I'm capturing a sunset, I'll take at least 10 pictures. I'll then filter them using other apps, enhance them. Then, I really pick the best image of perhaps 30.
I suddenly had to chase after my pictures... Pictures are like taxis during rush hour - if you're not fast enough, someone else will get there first.
I don't mind fans coming up in a friendly, respectful way. That's all part of the fun of being a top tennis player. But if people take pictures without permission, particularly if my children are in the shot, I feel uncomfortable.
I don't want pictures of my kids anywhere. I don't tweet pictures of my kids. I don't put them on any social media. I definitely do like to keep some privacy that way. And mostly, it's fear-based; people are crazy.
I don't like gimmicky pictures; I've always hated them. I like pictures that are very clear and clean, whether you're a great street photographer - somebody like Friedlander or Winogrand or Cartier-Bresson - or whether you're a portraitist, like Irving Penn.
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 like hiding somewhere, like, say on a bus street in a doorway, and taking pictures without people knowing - which sounds really creepy....You get some of the most interesting pictures because people are walking past not realising you're there.
To ask people's permission to take their pictures? Sometimes it feels right to ask, but I will not ask, unless it is essential to do so. If you asked all the time, you would miss everything. With the exception of portraits, it is generally bad news if people are looking at the camera.
[My mom] is quite the strict editor. I feel like maybe she has more of the old-school editing style, which really works in picture books, because you don't want to articulate anything in words that is already shown through the pictures.
Sometimes my fashion pictures can look a little bit like documentary style pictures. So having a camera in my hand was normal.
I was asked, "How did you get pictures that look like this?" It doesn't happen today because now everybody has to have permission. But what you're looking at, is the product of somebody who has been given permission to work with raw materials and not be bothered. These are good examples of having carte blanche.
I remember when an editor at the National Geographic promised to run about a dozen of my landscape pictures from a story on the John Muir trail as an essay, but when the group of editors got together, someone said that my pictures looked like postcards.
I feel like I become somebody else when I do the pictures. I don't like doing pictures as myself. I like to be made into somebody different.
What excites me about picture books is the gap between pictures and words. Sometimes the pictures can tell a slightly different story or tell more about the story, about how someone is thinking or feeling.
I see the bomber pictures as an anti-war statement... which they aren't - at all. Pictures like that don't do anything to combat war. They only show one tiny aspect of the subject of war - maybe only my own childish feelings of fear and fascination with war and with weapons of that kind.
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