A thing that you see in my pictures is that I was not afraid to fall in love with these people.
A very subtle difference can make the picture or not.
Anyone who lives in New York knows that this is perfect New York.
As you get older, you have different tools, and you learn to use photography differently.
At my Rolling Stones' tour, the camera was a protection. I used it in a Zen way.
Avedon is a great photographer. He's a very, very smart man.
Coming tight was boring to me, just the face... it didn't have enough information.
Computer photography won't be photography as we know it. I think photography will always be chemical.
Each place it hangs it looks different. I am just so happy to have the show.
Every time you go to a different place it's lit differently.
Everyone keeps asking you for pictures, and after a while you get tired of that. I always say, They are in the archives.
I am impressed with what happens when someone stays in the same place and you took the same picture over and over and it would be different, every single frame.
I didn't want to let women down. One of the stereotypes I see breaking is the idea of aging and older women not being beautiful.
I don't think there is anything wrong with white space. I don't think it's a problem to have a blank wall.
I feel a responsibility to my backyard. I want it to be taken care of and protected.
I feel very proud of the work from the '80s because it is very bright and colorful.
I fortunately have a set of good friends. I come from a big family and they're very supportive.
I love to spend time in the woods near my home in upstate New York. They never fail to evoke an emotional response in me. The lines of the horizon, the gentle curve of the trees.
I shoot a little bit, maybe two rolls, medium format, which is 20 pictures, and if it's not working, I change the position.
I still need the camera because it is the only reason anyone is talking to me.
I wanted Sarajevo in there but I didn't want it to take over because it is not my intention to have it so dark in feeling, in tone.
I was scared to do anything in the studio because it felt so claustrophobic. I wanted to be somewhere where things could happen and the subject wasn't just looking back at you.
I was shooting a group of Nobel prize winners, and I asked each one if I could take five, six pictures.
I was trying to make the show about photography and not about the celebrities. I was trying to really emphasize photography.
I wasn't one of those photographers that started when I was 12 and always wanted to be a photographer.
I wish that all of nature's magnificence, the emotion of the land, the living energy of place could be photographed.
I work with two printers who worked for me for 12 years.
I'd like to think that the actions we take today will allow others in the future to discover the wonders of landscapes we helped protect but never had the chance to enjoy ourselves.
I've created a vocabulary of different styles. I draw from many different ways to take a picture. Sometimes I go back to reportage, to journalism.
If I didn't have my camera to remind me constantly, I am here to do this, I would eventually have slipped away, I think. I would have forgotten my reason to exist.
If it makes you cry, it goes in the show.
In a portrait, you have room to have a point of view. The image may not be literally what's going on, but it's representative.
Irving Penn said he didn't want to photograph anyone under 60, and I think there is some truth about it.
It all came from the same place of wanting to do art, wanting to do something to express yourself.
It's a heavy weight, the camera. Now we have modern and lightweight, small plastic cameras, but in the '70s they were heavy metal.
It's hard to watch something go on and be talking at the same time.
Lennon was very helpful. What he taught me seems completely obvious: he expected people to treat each other well.
Most people, especially successful people, are hard-working. They want to participate. They want to do things well.
My hope is that we continue to nurture the places that we love, but that we also look outside our immediate worlds.
My lens of choice was always the 35 mm. It was more environmental. You can't come in closer with the 35 mm.
Nature is so powerful, so strong. Capturing its essence is not easy - your work becomes a dance with light and the weather. It takes you to a place within yourself.
No one ever thought Clint Eastwood was funny, but he was.
Sometimes I enjoy just photographing the surface because I think it can be as revealing as going to the heart of the matter.
The camera makes you forget you're there. It's not like you are hiding but you forget, you are just looking so much.
The Natalie Portman came out of a cover shoot. For me, she filled the role of a young beauty, and I was trying to capture her place as a young girl becoming a woman.
The pictures of my family were designed to be on a family wall, they were supposed to be together. It was supposed to copy my mother's wall in her house.
The subjects felt more comfortable if they played the role than if they had to be themselves.
The work which is manipulated looks a little boring to me. I think life is pretty strange anyway. It is wooo, wooo, wooo!
There are still so many places on our planet that remain unexplored. I'd love to one day peel back the mystery and understand them.
There must be a reason why photographers are not very good at verbal communication. I think we get lazy.
What I am interested in now is the landscape. Pictures without people. I wouldn't be surprised if eventually there are no people in my pictures. It is so emotional.
What I end up shooting is the situation. I shoot the composition and my subject is going to help the composition or not.
What I learned from Lennon was something that did stay with me my whole career, which is to be very straightforward. I actually love talking about taking pictures, and I think that helps everyone.
When I say I want to photograph someone, what it really means is that I'd like to know them. Anyone I know I photograph.
When I started working for Rolling Stone, I became very interested in journalism and thought maybe that's what I was doing, but it wasn't.
When I take a picture I take 10 percent of what I see.
When I was younger I did things with a camera I would not do by myself. I went down to the docks in San Francisco and asked a fisherman if he would take me out on his boat. I would never do that without a camera.
When the show first traveled across the U.S. and Europe I was hysterical all the time. I never had the chance to see it hung.
When you are on assignment, film is the least expensive thing in a very practical sense. Your time, the person's time, turns out to be the most valuable thing.
When you are younger, the camera is like a friend and you can go places and feel like you're with someone, like you have a companion.
When you go to take someone's picture, the first thing they say is, what you want me to do? Everyone is very awkward.
When you involve people, they come out, you see them, you get to see their sense of humor.
When you're younger, you forget that you actually exist.
With the vice president, I basically said I'd like to spend a little time in his office, and here, and there, doing the pictures in a rougher style rather than a set-up style.
Yoko Ono has a very strong Japanese face.
You don't have to sort of enhance reality. There is nothing stranger than truth.
You're not there in the room talking to someone about something else while you're really trying to take their picture.
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