A Quote by Sebastiao Salgado

It's more important for a photographer to have very good shoes, than to have a very good camera — © Sebastiao Salgado
It's more important for a photographer to have very good shoes, than to have a very good camera
I find it strangely beautiful that the camera with its inherent clarity of object and detail can produce images that in spite of themselves offer possibilities to be more than they are a photograph of nothing very important at all, nothing but an intuition, a response, a twitch from the photographer’s experience.
Good design for the home should be universal. A house should be like old shoes, comfortable, like a good friend... The Japanese aesthetic is important to me. Very organic. They have a sense of the weight of the thing: very balanced.
The head of the photographer is more important than his camera
Russia is very important, Iran is very important, Hezbollah is very important. All of them are important. Each one made important achievements against the terrorists in Syria, so it's difficult to say who is more important than the other.
The most important piece of equipment after the camera is a good pair of shoes.
At the beginning, Edo was a photographer, and I was more of a talent scout and doing styling and modelling. Then all of a sudden, in 1977, he gave me a Polaroid camera, and I discovered that instead of having to go to a lab and develop the film, I could just take a click and get a picture! It was genius, and I was very good at manipulating it.
What some highbrows call rapport is nothing more than a mild flirtation between photographer and the girl on the other side of the camera. Some models get so professional they can send hours flirting with the camera itself while the poor photographer is reduced to the role of spectator.
Also a good director and good dialogue. That's very important because you're bringing the words to life. So it's very important for an actor to have good dialogue.
The similarity between Van Gogh, Haiku poetry, and good photography is the concern for mortality. That things are very fleeting, that there are people who are more sensitive to death than others. The threat of time is of great concern to them. And the camera is a very appropriate instrument for many.
It's good that everyone has an opportunity to take pictures, the chance to be a photographer. Some are good, too. But the bad thing is that it's very, very difficult to take a great picture. Everyone can take a good picture - even a child - but it's hard to make a great one.
I probably get a deeper satisfaction of having taken a very good photograph than of having written something very good, a very good story. Maybe it's because the element of magic is so present in a good photograph - luck and magic, but also hard work and being ready and all that.
When it comes to my skin, I take it seriously. Being on camera and doing what I do, it's very important to start with a good base. So finding products that work really well with your skin are important.
When I first asked to take pictures of women at their homes, I was using my formal camera and I struggled to get the shots because I was still very much in the role of the photographer. Then the next time I had this little digital camera and their response to me would be completely different - I was a friend and I got new kinds of pictures. I was always treading a line between photographer and friend.
No photographer is as good as the simplest camera.
A lot of dyslexic kids are actually more intelligent than average and are very good, because they've got very good memories, at disguising the fact that they can't read or have got problems in reading and literacy.
This is how you can tell a real photographer: mostly, a real photographer does not say 'I wish I had my camera on me right now'. Instead a real photographer pulls out her camera and takes the photograph.
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