Top 341 Photographed Quotes & Sayings - Page 6

Over the years I have photographed thousands of people. I have never stopped being curious and trying to discover new worlds. I have used my camera as a mirror for my subjects as well. I remember photographing a woman in her 80s for my book, Wise Women, who told me it had been a long time since anyone had really been interested in "seeing" or photographing her. When she saw the picture, she burst into tears. She saw something in the photograph, an inner beauty and soul, she felt had long ago vanished.

Because a real kiss, a kiss that two real people choose to give each other - it's something that can't be filmed or photographed or drawn, or even described with words. Because a kiss isn't what it looks like or how it feels. A real kiss happens down deep inside of two hearts at the same time. It's hidden away. A real kiss is invisible.

I love being photographed, or I should say I love the art of photography. It's about people taking photographs of you, stealing them, and then presuming or assuming or captioning. Words can never be taken back, photographs can never be taken back, nothing can ever be taken back.

Once I went professionally to an archaeological expedition-and I learnt something there. In the course of an excavation, when something comes up out of the ground, everything is cleared away very carefully all around it. You take away the loose earth, and you scrape here and there with a knife until finally your object is there, all alone, ready to be drawn and photographed with no extraneous matter confusing it. That is what I have been seeking to do-clear away the extraneous matter so that we can see the truth-the naked shining truth.

Reality cannot be photographed or represented. We can only create a new reality. And my dilemma is how to make art out of a reality that most of us would rather ignore. How do you make art when the world is in such a state? My answer has been to make mistakes, but when I can, to choose them. We are all guilt victims choosing mistakes, and as Godard said, the very definition of the human condition is in the mise-en-scéne itself.

Only a very small proportion of us take those excesses with us into later life. In the age before everyone had a camera, it was worthwhile, in my opinion, to record those excesses. Sometimes, many times actually, the young people I photographed were only dressed that way for one night; that one night that they got snapped by me.

There was no such person as Marilyn Monroe. Marilyn Monroe was an invention of hers. A genius invention that she created, like an author creates a character. She understood photography, and she also understood what makes a great photograph. She related to it as if she were giving a performance. She gave more to the still camera than any actress-any woman- I've ever photographed.

I was so lucky that I got to meet certain people. It came through Roddy McDowall, who had become a photographer and would do these portraits of celebrities. Then he would get another well-known person to write a thing. He photographed me when I was 15 or 16, and he got Jason Robards to write the thing because he was sort of my mentor. And Roddy would invite me to these dinner parties that were insane. Like, Elizabeth Taylor and Maureen O'Hara and people that were just crazy. I still can't really believe that I met them.

I can think of numberless males, from Bonnard to Callahan, who have photographed their lovers and spouses, but I am having trouble finding parallel examples among my sister photographers. The act of looking appraisingly at a man, making eye contact on the street, asking to photograph him, studying his body, has always been a brazen venture for a woman, though, for a man, these acts are commonplace, even expected.

In terms of what people see of me, I have become this girl who just loves to be photographed, doesn't know how to focus, doesn't know how to work on set, just loves the attention, knows how to go out at night, knows how to party.

A fan sent me a letter and a $10 bill. It's a short letter - all she said was, 'Hey, since it's harder for you to go out these days without getting photographed, here $10 for a pizza.' I was like, 'Aww, she sent me money for a pizza so I could eat at home!'

With a woman I try to photograph her beauty; with a man I try to show his character. Once I photographed a man with a big nose (Jimmy Durante), and emphasized his nose, and he was very pleased with the picture. That could not happen with a woman. The most intelligent woman will reject a portrait if it doesn't flatter her.

I remember so clearly, in the early days, if I had to do a piece of press, they'd phone for me and say, 'Oh, we're going to bring hair and makeup, it'll take about five hours.' And I said, 'Well, if it was Ian McEwan, would it take about five hours? Would there be hair and makeup? Cause if that's not the case, then don't bring the hair and makeup.' So, it's fascinating that they just assume: it's a young woman, she must want to be photographed for five hours. She must have nothing better to do than delight in trying on all your shoes. But it's not the case.

The fame thing is interesting because I never wanted to be famous, and I never dreamt I would be famous....You know I didn't think they'd rake through my bins, I didn't expect to be photographed on the beach through long lens. I never dreamt it would impact my daughter's life negatively, which at times it has. It would be churlish to say there's nothing good about being famous; to have a total stranger walk up to you as you're walking around Safeways, and say a number of nice things that they might say about your work.

The only parental authority I had was the studio. When I was a star, there was always somebody with me, to guard me. I was not allowed to be photographed with a cigarette, a drink, a cup of coffee or even a glass of water because someone might think it was liquor. When I left the studio I was already married and had two children, but I felt as sad as a child leaving home for the first time.

John Lennon brought his wife Cynthia, a nice blonde girl and she was horribly put out of sight and stayed home. I know it broke John's heart John wasn't happy about it and she was-- because we spoke on the plane. I photographed her and them on the plane coming over. And you know photographs don't lie. They tried putting on a black wig on her for a couple of days and that was the sad part that kept quiet because they wanted them to be like, you know, fresh- which they were

I have this table in my new house. They put this table in without asking. It was some weird nouveau riche marble table, and I hated it. But it was literally so heavy that it took a crane to move it. We would try to set up different things around it, but it never really worked. I realized that table was my ego. No matter what you put around it, under it, no matter who photographed it, the douchebaggery would always come through.

I must admit to a personal lack of sympathy with women who have themselves photographed in black stockings, garter belts and boots, with bare breasts, bananas, and coy, come-hither glances.... A woman using her own face and body has a right to do what she will with them, but it is a subtle abyss that separates men's use of women for sexual titillation from women's use of women to expose that insult.

The minute you start saying something, 'Ah, how beautiful! We must photograph it!' you are already close to view of the person who thinks that everything that is not photographed is lost, as if it had never existed, and that therefore, in order really to live, you must photograph as much as you can, and to photograph as much as you can you must either live in the most photographable way possible, or else consider photographable every moment of your life. The first course leads to stupidity; the second to madness.

John Belushi infused Animal House with this spirit of guerilla filmmaking. John Landis came from that world too, and all the National Lampoon writers were from that world. It was just chaos on film. Controlled chaos, though. We stayed very close to the script. It was a very formal kind of movie, if you look at it. Formally photographed and structured, with certain elements of improv.

Knowing a great deal about what is in the world art, catastrophe, the beauties of nature through photographic images, people are frequently disappointed, surprised, unmoved when the see the real thing. For photographic images tend to subtract feeling from something we experience at first hand and the feelings they do arouse are, largely, not those we have in real life. Often something disturbs us more in photographed form than it does when we actually experience it.

Photography is linked with death in many different ways. The most immediate and explicit is the social practice of keeping photographs in memory of loved beings who are no longer alive. But there is another real death which each of us undergoes every day, as each day we draw nearer to our own death. Even when the person photographed is still living, that moment when she or he was has forever vanished.

You have to be aware that whenever you leave your house, you're probably going to be photographed by someone somewhere. Maybe those pictures will surface. Maybe they won't. Maybe those videos will surface. Maybe they won't. But you have to always be aware that it could be happening.

No writer in a free country should be expected to bother about the exact demarcation between the sensuous and the sensual; this is preposterous; I can only admire but cannot emulate the accuracy of judgment of those who pose the fair young mammals photographed in magazines where the general neckline is just low enough to provoke a past master's chuckle and just high enough not to make a postmaster frown.

The photographic enthusiast likes to lure us into a darkened room in order to display his slides on a silver screen. Aided by the adaptability of the eye and by the borrowed light from the intense projector bulb, he can achieve those relationships in brightness that will make us dutifully admire the wonderful autumn tints he photographed on his latest trip. As soon as we look at a print of these photographs by day, the light seems to go out of them. It is one of the miracles of art that the same does not happen there.

It followed us during half of our orbit. We observed it on the light side, and when we entered the shadow side, it disappeared completely. It was an engineered structure, made from some type of metal, approximately 40 meters long with inner hulls. The object was narrow here and wider here, and inside there were openings. Some places had projections like small wings. The object stayed very close to us. We photographed it, and our photos showed it to be 23 to 28 meters away.

It was really bizarre, that Sabzian business. You know I had no interest in being photographed before this incident. But then not just Sabzian—many other people started pretending they were me! One of them actually got married while pretending he was me! My face became publicly recognizable soon after I decided to have a few photographs of me available in public to prevent these sorts of identity thefts. It is really pathetic, if you think of it. Filmmakers and filmmaking is so popular in Iran because all other forms of expression have been denied to people.

Let's note, that in what I consider the most disgraceful performance abroad by an American official in my lifetime - something not exampled since Jane Fonda sat on the anti-aircraft gun in Hanoi to be photographed - Mr. McDermott said in effect, not in effect, he said it, we should take Saddam Hussein at his word and not take the President at his word. He said the United States is simply trying to provoke. I mean, why Saddam Hussein doesn't pay commercial time for that advertisement for his policy, I do not know.

I was shooting all this time. And there was only one guy who helped to pull him. And I had to think whether I was going to keep shooting or help the guy. And so I kept shooting and then they put him in this little clinic, and I photographed through the window while they had to amputate his leg. And I felt very strange because I didn't - I felt I could have helped, but I didn't help. But then I also felt elated that I was getting a shot that would be important to the film.

CGI means, just to be clear, creating any type of image with a computer. Basically, starting off with nothing, or with images and manipulating them. The way we did it, everything was actual photographed images. A lot of that stuff was shot through a microscope of chemical reactions, yeast growing, lots of weird things, by Peter Parks. We put it into a computer and collaged it, manipulated it. Meaning we digitally shaped it to fit with other images. But there was no computer-generated imagery at all.

I traveled for seven years, and when I came back home I was completely lost. I didn't know what to do with my life, so I decided to let people decide for me. For month I followed strangers on the street. For the pleasure of following, not because the party interested me. I photographed them without their knowledge, took note of their movements, and finally lost sight of them. At the end of January 1980, I chose a man and followed him to Venice. That's how I started. That's all.

Every once in a while I have this revelation like, "Wow, a hundred years ago the world wasn't black and white." It was in color. Photographed in a certain way, people look from another time. We are just not used to seeing ourselves in that context. Something that's fascinating about photography is you can isolate a moment, tear it out of its context, and see it afresh. Another realization is that, "Wow, there's a big world out there, and people are still doing all sorts of the things that they used to do." We don't just live in iPad land.

He wanted head and hands and arms on a pillow - in many different positions. I was asked to move my hands in many different ways - also my head - and I had to turn this way and that. There were nudes that might have been of several different people - sitting - standing - even standing upon the radiator against the window - that was difficult - radiators don't intend you to stand on top of them. (On being photographed by Alfred Stieglitz)

And it would be a bit out of character. President Recep Tayyip Erdogan may have started out as a reformer, but he really enjoys being seen as a larger-than-life tough-guy figure. He doesn't go on photographed hunting expeditions, for instance. But he does have hero moments, such as when his convoy stopped in the middle of the Bosphorus Bridge and he allegedly talked down a jumper, prevented him from committing suicide.

I don't really enjoy being the center of attention, I find it hard. I think it's the celebrity culture you guys have over here, which we don't have so much, and if we have it I blend it out. I've been very successful by just blending it out, by not going to premieres and things. So if I'm invited to a premiere, I would go behind the photo screen, because why would I get my photo taken? I just don't see the point of myself being photographed. I'm not like this because I think I'm too cool. I'm not judging it, it's just not my thing.

I like photographing women who appear to know something of life. I recently did a session with a great beauty, a movie star in in her thirties. I photographed her twice within three weeks and the second time I said: "You're much more beautiful today than you were three weeks ago." And she replied: "But I'm also three weeks older.

The first time I worked with colors was by making these mosaics of Pantone swatches. They end up being very large pictures, and I photographed with a very large camera - an 8x10 camera. So you can see the surface of every single swatch - like in this picture of Chuck Close. And you have to walk very far to be able to see it.

Between two fantasy alternatives, that Holbein the Younger had lived long enough to have painted Shakespeare or that a prototype of the camera had been invented early enough to have photographed him, most Bardolators would choose the photograph. This is not just because it would presumably show what Shakespeare really looked like, for even if the photograph were faded, barely legible, a brownish shadow, we would probably still prefer it to another glorious Holbein. Having a photograph of Shakespeare would be like having a nail from the True Cross.

[Robert Gottlieb] wouldn't have published 'Remembering Denny' . Denny was a Rhodes Scholar. He was on the swimming team. Had this great California crew cut and this great smile. Life magazine covered his graduation, and Alfred Eisenstaedt photographed it. We all expected him to be president some day. But he committed suicide when he was in his 50s. If he were gay in the 1950s, then the rest of what I wrote was commentary because life was so miserable for gay men back then. And that's why he committed suicide.

I think everything can be painted because painting can change reality; but everything cannot be photographed and the photographer often comes home empty-handed, with images which (often) have a documentary interest, but which rarely go further than that. One has to be completely available, very tenacious and admit that many subjects won't give any results... and a miracle sometimes happens, without warning.

As I became aware that all things have unique spatial and temporal qualities which visually define and relate them, I began to perceive the things I was photographing not as objects but as events. Working to develop my skills of perceiving and symbolizing these event qualities, I discovered the principle of opposites. When, for example, I photographed the smooth, luminous body of a woman behind a dirty cobwebbed window, I found that the qualities of each event were enhanced and the universal forces which they manifested were more powerfully evoked.