Photographer Quotes

It's very real, the narrow line between a night danced away and the potential of death around the corner.
On the one hand I follow a vocation because I have an ability that I should exercise, but I want to use it for a reason, because I don't see that the freedoms that I enjoy are God-given realities. So I have a very healthy, activist general tension in me which feels that no, this is not gratuitous, it is important to keep this in focus.
There is this looking at the world as shapes and patterns and colors that have meaning, and you can't deny the superficial because the superficial is what meets the eye.
When I was growing up, all the art that touched me was lens-generated, like Gerhard Richter, or Polke, Rauschenberg, Warhol.
A lot of my friends were mostly working in black-and-white - people like Lee Friedlander, Diane Arbus, Garry Winogrand, and others. We would exchange prints with each other, and they were always very supportive of what I was doing.
Black-and-white photography, which I was doing in the very early days, was essentially called art photography and usually consisted of landscapes by people like Ansel Adams and Edward Weston. But photographs by people like Adams didn't interest me.
Everything must work in concert. Composition is important, but so are many other things, from content to the way colours work with or against each other.
I don't think much about the digital world... because I am in the analog world!
I had this notion of what I called a democratic way of looking around, that nothing was more important or less important.
I like to think that my works flow like music. That may be one reason I work in large groups versus one picture of one thing; it's the flow of the whole series that counts.
I met and became close with John Szarkowski of the Museum of Modern Art. He was incredibly supportive about me working in color.
I work very quickly. I only ever take one picture of one thing. Literally. Never two.
I'm not particular. I don't have favourite pictures.
Something new always slowly changes right in front of your eyes - it just happens.
You want to make the photograph work in every way possible. Doesn't matter where it is in the world.
As a kid, I wanted to be part of the Lost Generation who came to France.
Being an expatriate doesn't go down well in America.
Don't have rules, taboos, or limits.
Fashion had no interest for me. I would take photographs in the studio. I would go back home, and my wife would say, 'What is the fashion like for this season?' And I would say, 'I have no idea.'
Fashion was more of a sideline for me. I did it for the money.
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