photographs

When you take a photo, you often take your own reality into your camera - the reality that you shaped in your mind - and not the real reality over there, whatever it is!

Spoil all the walls with sellotape marks.

Some days you just get lucky_ Other days you wait patiently for luck to happen

Photography is like exploring a new dimension, only I can go there but I can show you where I've been.

All my images are self-portraits, even when I'm not in them.

What I'm trying to describe is that it's impossible to get out of your skin into somebody else's.... That somebody else's tragedy is not the same as your own.

For me, the subject of the picture is always more important than the picture.

One thing that struck me early is that you don__ put into a photograph what__ going to come out. Or, vice versa, what comes out is not what you put in.

A photograph shouldn't be just a picture, it should be a philosophy.

Looking at old photographs inundates you with a flood of nostalgic emotions! And you can't be sure where you want to swim in the deluge of memories!

Thanks to photography, some memories overstay their welcome.

The photos I took in Afghanistan are lying in front of me. I peer into the faces of those who were with me there and who are so far away from me now, into the faces of those who were dying right next to me and those who were hiding behind my back. I can make these photos larger or smaller, darker or lighter. But what I can't do is bring back those who are gone forever.

Max had once read in one of his father's books that some childhood images become engraved in the mind like photographs, like scenes you can return to again and again and will always remember, no matter how much time goes by.

It's funny, but certain faces seem to go in and out of style. You look at old photographs and everybody has a certain look to them, almost as if they're related. Look at pictures from ten years later and you can see that there's a new kind of face starting to predominate, and that the old faces are fading away and vanishing, never to be seen again.

Travel becomes a strategy for accumulating photographs.

When I look at my old pictures, all I can see is what I used to be but am no longer. I think: What I can see is what I am not.

It was an irresistible development of modern illustration (so largely photographic) that borders should be abandoned and the "picture" end only with the paper. This method may be suitable for for photographs; but it is altogether inappropriate for the pictures that illustrate or are inspired by fairy-stories. An enchanted forest requires a margin, even an elaborate border. To print it coterminous with the page, like a "shot" of the Rockies in Picture Post, as if it were indeed a "snap" of fairyland or a "sketch by our artist on the spot", is a folly and an abuse.

Later, when she sees the photographs for the first time, she will be surprised at how calm her face looks - how steady her gaze, how erect her posture. In the picture her eyes will be slightly closed, and there will be a shadow on her neck. The shawl will be draped around her shoulders, and her hands will rest in her lap. In this deceptive photograph, she will look a young woman who is not at all disturbed or embarrassed, but instead appears to be rather serious. And she wonders if, in its ability to deceive, photography is not unlike the sea, which may offer a benign surface to the observe even as it conceals depths and current below.