Photographer Quotes

My mind is vacant on names, but I know him as well as anything. When I need names they drop out of my head; when I don't need them they drop back.
Oh, you ask me, what is the greatest torture of a person who does portraits for a living? I could fill several volumes with nice nasty stories. I don't know.
Some people say to me, Isn't it too bad that people discovered you so late? I never thought that.
There are certain things you don't discuss with Ansel, especially if you don't agree.
Well, I turn people into human beings by not making them into gods.
When I need names they drop out of my head; when I don't need them they drop back.
When people ask me silly questions about my private life, I just say, I don't discuss that.
When People magazine called me, I did the job on Ansel. I'm older than Ansel and he has to mind me.
When you do portraits professionally it's not a desire, it's for money.
You see, I became kind of a drop-out in science after I came back to America.
Experience is the best teacher of all. And for that, there are no guarantees that one will become an artist. Only the journey matters.
I wish more people felt that photography was an adventure the same as life itself and felt that their individual feelings were worth expressing. To me, that makes photography more exciting.
I did find a wonderful girl last year, but the photographs that we did were more about motorcars.
I have mixed feelings about those sorts of things. When I see it done by interesting young people, I think it's very valid. But when established photographers, people in their forties, copy me and get a lot of money, well, I find that to be very stupid.
I like photographing the people I love, the people I admire, the famous, and especially the infamous. My last infamous subject was the extreme right wing French politician Jean-Marie Le Pen.
I spend a lot of time preparing. I think a lot about what I want to do. I have prep books, little notebooks in which I write everything down before a sitting. Otherwise I would forget my ideas.
I used to hate doing color. I hated transparency film. The way I did color was by not wanting to know what kind of film was in my camera.
I was lucky to have my wife as the art director, and it turned out to be quite something - a great success. I'm very proud of it.
In the photographs themselves there's a definite contrast between the figures and the location - I like that kind of California backyard look; clapboard houses, staircases outdoors.
It's that I don't like white paper backgrounds. A woman does not live in front of white paper. She lives on the street, in a motor car, in a hotel room.
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