Top 341 Photographed Quotes & Sayings - Page 5

What is the subject matter of this apparently very personal world? It has been suggested that these shapes and images are underworld characters, the inhabitants of the vast common realm of memories that have gone down below the level of conscious control. It may be they are. The degree of emotional involvement and the amount of free association with the material being photographed would point in that direction.

My mother photographed Donald Judd in Marfa, Texas, right before he passed away. He was actually the first artist whose work I collected. I just loved the photographs that my mom had done of Donald Judd and the installations in Marfa.

I think the culture of the red carpet is too much like a modern-day coliseum. If you're being photographed all the time, and you don't like having a bad photograph taken, and if you're super, super thin, chances are you're never going to look fat in a picture.

Old ladies photographed by CBS who announced that they would die of malnutrition if Reagan's bill were passed could probably have saved themselves their impending penury by the simple device of applying to the American Federation of Television and Radio Artists for scale every time they were featured by Dan Rather or whoever.

After years and years of everybody commenting on the way I look and dress and being photographed, one starts to become self-conscious and starts to plan things more. You end up judging yourself more, what looks good and what doesn't.

It's okay for you to have relationships, but it's not okay to talk about them. It's not okay to be out or to be public about it. It's not okay to be photographed with your partner.

The person who has been photographed, not the total person, is dead, dead for having been seen.

The more I photographed Muslim women, the more I was able to metaphorically strip away the burqas and hijabs, and start chipping away at the profound misconceptions that existed in other parts of the world about these women and their culture.

To suffer is one thing; another thing is living with the photographed images of suffering, which does not necessarily strengthen conscience and the ability to be compassionate. It can also corrupt them. Once one has seen such images, one has started down the road of seeing more - and more. Images transfix. Images anesthetize.

I never heard my mom say, "Not now, I'm busy." But I did have extraordinary experiences that I'm very aware were extraordinary. I mean, I traveled Europe before I was 12 years old, had been to the White House numerous times. Andy Warhol photographed me; Michael Jackson called our house.

I think I've always been ambitious. It just looks different on me. You know, I have friends who are actresses who go to every party they possibly can to be photographed and really try to make every connection they can, and I admire that and sometimes I wish I had a little bit more of that. Sometimes I feel like I don't have enough ambition.

Like most portrait photographers, I aim to record the instant the subject is not thinking about being photographed, striving to get beyond the practiced facial performance, reaching for something unplanned. While trying to be as objective as possible, I acknowledge that every gesture is still an act of artifice.

I always thought if I photographed anyone or anything enough, I would never lose the person, I would never lose the memory, I would never lose the place. But the pictures show me how much I've lost.

A saboteur in the house of art and a comedienne in the house of art theory, Lawler has spent three decades documenting the secret life of art. Functioning as a kind of one-woman CSI unit, she has photographed pictures and objects in collectors' homes, in galleries, on the walls of auction houses, and off the walls, in museum storage.

Every photographed object is merely the trace left behind by the disappearance of all the rest. It is an almost perfect crime, an almost total resolution of the world, which merely leave the illusion of a particular object shining forth, the image of which then becomes an impenetrable enigma.

I had an early taste of fame. I was 20, going out with TV presenter Dani Behr and we'd have paparazzi chasing us. I'm not comfortable being photographed, though I accept it is part of the job. I had to ask myself, 'What comes first, being a celebrity or footballer?

Photographs bear witness to a human choice being exercised in a given situation. A photograph is a result of the photographer's decision that it is worth recording that this particular event or this particular object has been seen. If everything that existed were continually being photographed, every photograph would become meaningless.

I was in the South of France, in Saint-Tropez and I met her when it was totally unexpected. I was very lucky because she was the most beautiful woman in the world at the time. I photographed her very quickly, she was not easy as a model, but her beauty transcended anything I had seen before.

It's important to understand it's OK to control the subject. If most editorial stories were photographed just as they are, editors would end up throwing most in the waste basket. You have to work hard at making an editorial picture. You need to re-stage things, rearrange things so that they work for the story, with truth and without lying.

In 1979, I moved to England and photographed Joy Division and Bowie and Beefheart. At that time I got images that I felt had that special, well - power is a big word to say - more like intimacy and ambition that outlasted the photo shoot. I felt that they would have a longer life.

I'm still compulsively interested in women. It's funny, I've always compulsively photographed women. I still do.

I think where I've instinctively found myself is that I am somewhat guarded in my public life. Being interviewed or being photographed or just in public attention, I have a certain reserve. But when I'm working I feel like I'm very open. At least I like to believe that I feel like nothing is held back when I'm in front of a camera. That's my job.

The stoic drama 'A Somewhat Gentle Man' is photographed in a palate of steel gray tones that match Stellan Skarsgard's complexion. It's a low-blood-pressure version of the kind of thing James M. Cain used to do in his sleep, and its filmmaking accomplishment is as minimalist as its narrative ambition is minimal.

I'm being photographed, worrying about my hair - and yet here I am, I've directed a feature film, why do I care about the way I look? Who cares? Does Tim Burton care? Does Joel Coen?

If you photograph for a long time, you get to understand such things as body language. I often do not look at people I photograph, especially afterwards. Also when I want a photo, I become somewhat fearless, and this helps a lot. There will always be someone who objects to being photographed, and when this happens you move on.

One never knows enough about characters in real life to put them into novels. One gets started and then, suddenly, one can not remember what toothpaste they use; what are their views on interior decoration, and one is stuck utterly. No, major characters emerge; minor ones may be photographed.

I have my insecurities, and some days you don't want to be photographed. You notice all of your flaws even if others don't notice them. Photo shoots also feel very vain because it's all about you and your looks and your face. I feel I work better on camera.

I remember when I first started to be photographed, people couldn't understand how it was possible to go around with no eyelashes, no eyebrows. Now it's much more accepted for people not to wear eyelashes or lipstick or whatever they do, but then it was quite freaky. Um, a kind of boiled look.

In the Belgian air force a general supposedly saw a UFO, tracked it with his plane, photographed it with his wing cameras. And I believe it because I said to myself why would this person, not getting paid for this, do it unless it actually happened or he thought it happened.

For me it is essential to understand that everyone is alone. Not in the sense of loneliness, but rather in the sense that no one can completely understand someone else. I know very well what Diane Arbus means when she says that one cannot crawl into someone else's skin, but there is always an urge to do so anyway. I want to awaken definite sympathies for the person I have photographed.

I knew Marilyn over a two-year period. I met her first on a movie called 'Let's Make Love.' I photographed her at that time on and off through the time of her death. I was 22 years old and she was 34 or 35.

Most people, when they lose their dads, they go through a period of mourning and grieving, and time begins to heal their sadness. But we don't have the opportunity to heal. I know my brother and sister feel the same. The man was probably one of the most photographed people who ever lived.

So many times I've photographed stories that show the degradation of the planet. I had one idea to go and photograph the factories that were polluting, and to see all the deposits of garbage. But, in the end, I thought the only way to give us an incentive, to bring hope, is to show the pictures of the pristine planet - to see the innocence.

I don't look at paparazzi photos. And most of my friends don't want to be photographed, so they walk four feet to the side. If you see a photo of me laughing, that's why - because my friends don't want to walk with me.

Motherhood takes vanity completely out of the picture. Comfort is the key. When you are coming out of a plane after a 9-hour flight with drool all over your clothes, the last thing you are worried about is being photographed. You just want to take your kid home.

In 1850, August Salzmann photographed, near Jerusalem, the road to Beith-Lehem (as it was spelled at the time): nothing but stony ground, olive trees; but three tenses dizzy my consciousness: my present, the time of Jesus, and that of the photographer, all this under the instance of 'reality' - and no longer through the elaborations of the text, whether fictional or poetic, which itself is never credible down to the root.

People say to me, 'What do you think your mother would think about this new world with Instagram?' And I pause and I just say, 'Well, she really was the queen of Instagram because she was more photographed than anyone else.'

After I have photographed the way I like to, I feel as I might if I had been making love all day, marvelous and exhausted and wanting to collapse on the floor in a heap. That's why I can't photograph just anybody, and why it's so hard to photograph people on assignment; it's like going to bed with someone not of my choosing.

I had thrown my body in for art... I had thrown myself into this game for art. You know, I was not a very good artist. But this was, like, one thing I could do. (On being photographed nude playing chess with Marcel Duchamp at Duchamp's 1963 retrospective at the Pasadena Museum of Art.)

Ever since I began working with toys, I have been intrigued with the idea that these seemingly benign objects could take on such incredible power and personality simply by the way they were photographed. I began to realize that by carefully selecting the depth of field and making it narrow, I could create a sense of movement and reality that was in fact not there

I hadn't performed or been in the public eye for about 16 years. When my husband passed away, I was obliged to go back to work to take care of our kids. I also wanted to do a record in memory of him. So we did Gone Again. During that process, I had to be photographed and had to go back to doing articles and interviews.

Marseilles isn't a city for tourists. There's nothing to see. Its beauty can't be photographed. It can only be shared. It's a place where you have to take sides, be passionately for or against. Only then can you see what there is to see. And you realize, too late, that you're in the middle of a tragedy. An ancient tragedy in which the hero is death. In Marseilles, even to lose you have to know how to fight.

My father's rooms, as a child, were a very exciting place to be. Not only because of the beautiful models who were coming to be photographed for Vogue or The Sunday Times but also because of the very avant-garde furniture that he had made. He made designs for the investiture of the Prince of Wales in 1969 at Caernarfon Castle.

The portrait of a person is one of the most difficult things to do. It means you must almost bring the presence of that person photographed to other people in such a way that they don't have to know that person personally, but that they are still confronted with a human being that they won't forget. That's a portrait.

I photographed with film for many years; now that I work in digital, the difference is enormous. The quality is unbelievable: I don't use flash, and with digital I can even work in very bad light. Also, it's a relief not to lose photographs to x-ray machines in airports.

I've done an incredible amount of painters. It's an area, for me, where there's more mystery left. I've photographed so many musicians, I've been in studios so often, I know the whole process. The mystery's gone from it. I think it's important to keep mystery into our lives. There's a longing connected with it.

When I had photographed Prince William's mother, I brought along a CD of Dalida, a French singer, that we played on set all day to relax everyone. I decided to do the same thing for Catherine and William. The contrast of the contemporary informal music playing in the beautiful rooms with so much history caused a lot of laughter.

Art has no place in modern life. It will continue to exist as long as there is a mania for the romantic and so long as there are people who love beautiful lies and deception... Every modern cultured man must wage war against art, as against opium... Photograph and be photographed.

Some of these actresses or public personas who are very public about their disciplined diets, more power to them. I just don't see the point. I'm just not going to be one of those people photographed in a bikini where people are like, 'OMG, look at Amy!' I mean, it might be OMG, but not for the reasons I want.

I had an early taste of fame. I was 20, going out with TV presenter Dani Behr and we'd have paparazzi chasing us. I'm not comfortable being photographed, though I accept it is part of the job. I had to ask myself, 'What comes first, being a celebrity or footballer?'

Surprise quality can be achieved in many ways. It may be produced by a certain stimulating geometrical relationship between elements in the picture or through the human interest of the situation photographed or by calling our attention to some commonplace but fascinating thing we have never noticed before or it can be achieved by looking at an everyday thing in a new interesting way.

When I photographed Marilyn Monroe, I mixed up my cameras - one had black-and-white film, the other color. I took many pictures. Only two color ones came out all right. My favorite picture of Marilyn hangs always on the wall in my office. It was taken on the little patio of her Hollywood house.

Contrary to popular belief, I don't go out very much. When I do go out, a lot of times it'll be to something like a heavyweight fight, and I'll be photographed, so that people have this conception that I go out a lot.

[My early performance work] started by being the activity of a person, any person, like any other - but once that person became photographed it became a specialized person, the object of a personality cult.

I got a lot of attention when I was really young, and people have it in their minds that I'm still 24 years old. So I made the decision that I had photographed everything I was interested in in New York. New York is a town you have to embrace, but you also need to leave. I may revisit it one day, but for me it's a place to live rather than one to make work in.

A man with a camera was always suspected of being a spy. Moreover, the Jews did not want to be photographed, due to a misunderstanding of the prohibition against making graven images (photography had not been invented when the Torah was written!). I was forced to use a hidden camera.

Some actors don't mind it. Those who are pretty. They think it's nice to be looked at because they are nice to look at. I appreciate that. I'm very happy to salute that aspiration. But I don't like the way I look so I don't like being photographed. I become defensive.

The redwoods, once seen, leave a mark or create a vision that stays with you always. No one has ever successfully painted or photographed a redwood tree. The feeling they produce is not transferable. From them comes silence and awe. It's not only their unbelievable stature, nor the color which seems to shift and vary under your eyes, no, they are not like any trees we know, they are ambassadors from another time.

I photographed all kinds of sports - Formula 1, Formula Atlantic. And anybody who knows me knows that, from the day they invented video cameras, I used to lug them around when you had to carry the pack here and the big camera here, plus the diaper bag and a baby and the purse or whatever.

Marilyn Monroe gave more to the still camera than any actress, any woman I've ever photographed; infinitely more patient, more demanding of herself and more comfortable in front of the camera than away from it.