At my Rolling Stones' tour, the camera was a protection. I used it in a Zen way.
I don't try to overintellectua lize my concepts of people. In fact, the ideas I have, if you talk about them, they seem extremely corny and it's only in their execution that people can enjoy them...It's something I've learned to trust: The stupider it is, the better it looks.
I feel a responsibility to my backyard. I want it to be taken care of and protected.
My hope is that we continue to nurture the places that we love, but that we also look outside our immediate worlds.
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.
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.
There must be a reason why photographers are not very good at verbal communication. I think we get lazy.
No one ever thought Clint Eastwood was funny, but he was.
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.
I love having the photograph in my hand. I love looking at the photograph. I love looking at a box of photographs. I just love the still photograph.
My lens of choice was always the 35 mm. It was more environmental. You can't come in closer with the 35 mm.
Computer photography won't be photography as we know it. I think photography will always be chemical.
Irving Penn said he didn't want to photograph anyone under 60, and I think there is some truth about it.
Lennon was very helpful. What he taught me seems completely obvious: he expected people to treat each other well.
I admired the work of photographers like Beaton, Penn, and Avedon as much as I respected the grittier photographers such as Robert Frank. But in the same way that I had to find my own way of reportage, I had to find my own form of glamour.
Everyone keeps asking you for pictures, and after a while you get tired of that. I always say, They are in the archives.
Sometimes I enjoy just photographing the surface because I think it can be as revealing as going to the heart of the matter.
I've always cared more about taking pictures than about the art market.
I actually love talking about taking pictures, and I think that helps everyone.
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.
The work which is manipulated looks a little boring to me. I think life is pretty strange anyway. It is wooo, wooo, wooo!
I think self-portraits are very difficult. I’ve always seen mine as straightforward, very stripped down, hair pulled back. No shirt. Whatever light happened to be available. I’d want it to be very graphic – about darkness and light. No one else should be there, but I’m scared to do it by myself. I’ve been thinking about it for a long time. The whole idea of a self-portrait is strange. I’m so strongly linked to how I see through the camera that to get to the other side of it would be difficult. It would be as if I were taking a photograph in the dark.
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.
When you go to take someone's picture, the first thing they say is, what you want me to do? Everyone is very awkward.
Coming tight was boring to me, just the face... it didn't have enough information.
