Photographer Quotes

My friends love this idea of me as half man, half camera.
People who look at Greek statues never say it's a shame because they're not complete.
To step on a bomb, have your legs blown off and survive, is lucky. Everybody has a good-luck story. Mine was the fact that the senior medic was on patrol that day. Those who don't have a good-luck story are the ones who don't make it.
When I worked as a music and fashion photographer, I always had the nagging feeling that there was something missing, that I wasn't using my skills productively. I gave up photography - I walked away from it completely - and started doing care work.
A lot of people who don't have anything collect dogs; it's kind of a symbol of having something.
As a kid, I used to dream about airplanes before I ever flew in one. I really knew, when I started photographing, I wanted it to be a way of knowing different cultures, not just in other countries but in this country, too, and I knew I wanted to enter other lives. I knew I wanted to be a voyeur.
During prom season, I travel around the country with a 20-by-24 camera - which is logistically complicated - and photograph proms. My husband made a film of it.
Every photograph is the photographer's opinion about something. It's how they feel about something: what they think is horrible, tragic, funny.
I always think, 'What does this picture mean? What's the best place to put my camera? Do I have anything extra in the picture, things in the background that will distract? Am I in the basic position that will give the essential things for this picture but not too much?'
I could spend my whole life photographing circuses. They combine everything I'm interested in - they're ironic, poetic, and corny at the same time. There's also something about a circus that's magical, sentimental, and almost tragic, like a Fellini film.
I don't like gimmicky pictures; I've always hated them. I like pictures that are very clear and clean, whether you're a great street photographer - somebody like Friedlander or Winogrand or Cartier-Bresson - or whether you're a portraitist, like Irving Penn.
I don't like to photograph children as children. I like to see them as adults, as who they really are. I'm always looking for the side of who they might become.
I don't relax. I can't take vacations. I'm obsessive-compulsive, and I worry with every project that I'm going to fail. When it starts to go well, and I sense that something beautiful and important and meaningful is being created, it's a fantastic feeling, and I find it very hard to stop.
I don't see how a woman in documentary photography could have children. I think it's a very difficult thing to do to raise a family, and I have enormous respect for people who do it. I'd hate to do something like that and not be good at it.
I have an incredible relationship with dogs. I'm kind of a dog-whisperer.
I knew from the first moment I picked up a camera, on my first school assignment, what I wanted to do for the rest of my life. I was going to find a way to travel the world and tell the stories of the people I met through photographs.
I love dogs. I absolutely adore them. When I'm teaching in Mexico, I rescue dogs from the streets and make my students adopt them.
I love to photograph people in their own environment. It offers clues to what's important in their lives.
I realized all of the possibilities that could exist for me with my camera: all of the images that I could capture, all of the lives I could enter, all of the people I could meet and how much I could learn from them.
I really knew when I started photographing I wanted it to be a way of knowing different cultures, not just in other countries but in this country, too, and I knew I wanted to be a voyeur.
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