In every successful still photographic project that I have completed, there has always been a turning point in the story where I felt that perhaps I was working on something that could be very special.
From Mary Ellen Mark
You don't need to retouch if you know how to light.
What I'm trying to do is make photographs that are universally understood... that cross cultural lines. I want my photographs to be about the basic emotions and feelings that we all experience.
I saw that my camera gave me a sense of connection with others that I never had before. It allowed me to enter lives, satisfying a curiosity that was always there but that was never explored before.
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 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'm most interested in finding the strangeness and irony in reality. That's my forte.
I wanted to travel from the beginning. As a kid, I used to dream about airplanes, before I ever flew in one.
One of my all-time favorite photographers is Irving Penn. I wish I could have watched him work.
When you're working on a film, it's almost like photographing paintings at a museum. You're photographing somebody else's world. I just try and interpret it and make it real, and make it what the actors are about, what the director is about, and what the film is about.
7 perspectives
6 perspectives
2 perspectives
1 perspectives