David LaChapelle Quotes

I believe in a visual language that should be as strong as the written word.

I’m a photographer, period. I love photography, the immediacy of it. I like the craft, the idea of saying ‘I’m a photographer.

My idea was that if I took a picture of somebody and years later, or whenever, they would die and if someone wanted to know who this person was, they could take one of these pictures and it would tell who the person was.

Pictures are an escape. They should be bigger than life. In the same way, celebrities provide an escape from the mundane. They are photographed so we can worship them – so they are worthy of our worship.

The key is to photograph your obsessions; whether that’s old people’s hands or skyscrapers. Think of a blank canvas, because that’s what you’ve got, and then think about what you want to see – not anyone else.

David LaChapelle Quotes on Style

You just do what you love, and then a style happens later on. People put it together and decide it’s yours. But some days you wake up and you’re happy and some days you wake up and you’re sad, some days you wake up and you’re feeling angry about things… if you can translate that through your work, and express those feelings, that’s okay as an artist.

I was working in this very bombastic style. I didn’t really know about style. I didn’t think about it:

I wanted it to provide an escape route, I wanted to make pictures that were fantastic and took you into another world, one that was brighter. I started off with this idea.

I did what I was interested in, what I was attracted to, what I was drawn to. I was drawn to color, and I was drawn to humor, and I was drawn to sexuality and spontaneity. It was all really intuitive. I never really thought, “Well this is the style…”

For me, it’s easier to like more things than to dislike them; I’m not a critic in that sense. I find it easier to like more, to be more open and enjoy more things, which has given me more opportunities.

People say photographs don’t lie, mine do.

I never want people to be repulsed with my pictures; I always want to attract people.

The minute you point a camera at something, you are manipulating the image, because you are cropping out whatever is to the left and right of it. The minute you put a light on someone, you are manipulating the image.

If you want reality take the bus.

LaChapelle on the Art of Photography

I went to art high school and thought I’d be a painter. Unfortunately I didn’t finish high school, but that’s always been part of my work.

I was always painting when I was a kid. But then when I handled a camera when I was 17, that was it for me. I loved photography. I would work 4 or 5 hours a day. It was like a calling.

Just as Renaissance artists provided narratives for the era they lived in, so do I. I’m always looking beyond the surface. I’ve done that ever since I first picked up a camera.

My biggest advice would be to take the pictures you want to take. Don’t think about the marketplace, what sells, or what an editor might say. And don’t think about style. It’s all bullshit and surface stuff.

Then I got this idea in my head that magazines were like a gallery and if you got your magazine page ripped out and someone stuck it on their refrigerator, then that was a museum – someone’s private museum.

It’s much harder to work for yourself, by yourself, than to create work for a gallery, because there are no limits and you can do anything you want. It’s always easier when you have a parameter, when you have a limit. You can work within the limit and push it and walk the line, but when you’re given absolutely no limits, it’s harder. You must really think. It’s more challenging.

I stopped working for magazines in 2006 because I felt I had said all I had to say in that world. I didn’t want to work with celebrities or do fashion any more. It didn’t occur to me that I could make photographs like this one for galleries. To be honest, I didn’t think the art world would have me.

I didn’t see any difference between being a photographer or being an artist. I didn’t make those boundaries. If someone wants to think it’s art, that’s great, but I’ll let history decide.

Fashion and the Business of Photography

I try to get the visual part of my brain turned on. It’s like a muscle that you need to start working. Once I do that the ideas just start coming.

The tools I learned photographing celebrities, now I want to use them to sell ideas.

I have this idea that you can use glamour and still have it represent something that matters.

In the fashion world, I was always an outsider, but I made people look good, so I had a career.

I’ve never wanted to be part of an inner circle of any scene. I’ve always been an outsider looking to question and subvert.

When I shoot, the image has to be there first. And photographs have always been manipulated – [Richard]Avedon retouched all his American west portraits. I could take a photo of you now and crop it to make it look a certain way. But, with me, the image has to come first.

My work is about making candy for the eyes. It’s about grabbing your attention. Even though my work is appearing in magazines I am trying to make a large picture. I want my photographs to read like a poster.

What’s your Favorite David LaChapelle Quote?

Have a favorite David LaChapelle quote from the list? Let us know in the comment section below.

Don’t forget to bookmark this page, or print it out, and refer to it next time you need some inspiration. Like the article? Share it with other photographers.

To see more of LaChapelle’s brilliant photography, check out the image archive on his official website.

Looking for more words of wisdom from master photographers? Head over to the quotes section of Photogpedia for more great photography quotes.

Related Quote Articles:

• Cindy Sherman Quotes
• Richard Avedon Quotes
• Helmut Newton Quotes
• Fashion Photography Quotes

The post 30 David LaChapelle Quotes on Fantasy, Fashion and Fine Art appeared first on Photogpedia.

Below you’ll find over 100 of the greatest fashion photography quotes that are guaranteed to inspire and give you plenty of new ideas for your next photo shoot.

Editor note: This article is constantly being updated, so remember to bookmark the page and keep checking back for more fashion photography inspiration from the masters of the medium.

Fashion Photography Quotes

Fashion is an expression of the times. Elegance is something else again.

Horst P Horst

The truly fashionable are beyond fashion.

Cecil Beaton

The best fashion show is definitely on the street. Always has been, and always will be.

Bill Cunningham

I never considered myself a fashion photographer. I’ve never really been interested in fashion. The reason I did fashion was that I liked what was in the frocks.

David Bailey

Fashion is about who you want to be, not who you are, it’s therefore artificial… it’s funny and it’s sad and it’s a little crazy. But I would want those elements to be in any photograph I took.

Richard Avedon

Fashion is about who you want to be, not who you are, it’s therefore artificial… it’s funny and it’s sad and it’s a little crazy. But I would want those elements to be in any photograph I took.

Richard Avedon

What is Fashion Photography

Fashion photography is foremost fiction. The fantasy is everything because ever since [the images] grow in your head you construct something together. Then you get the right person for it, the right people. You go to the right place, and then the little thoughts you had become images – that is what you call fantasy.

Peter Lindbergh

As a child I loved picture books and at school I looked at fashion magazines a lot – they were comics of photography for me. Fashion photography seemed the only photography that allows you to express fantasy, romance, dreams, and escapism. You think of photography as being a tool to tell the truth, but in fashion photography there is a different kind of honesty.

Tim Walker

Most photographers go and photograph something that they see, that exists, and that somebody else has created – they document it. But fashion photographers have to create what they’re going to photograph. We have to go into the thought and build it up, get a girl, get a guy, get a situation, get the house, get the decor. It’s the meaning of the word photography: “writing with light.”

Mario Testino

Before 1960, a fashion photographer was tall, thin and camp. But we three are different: short, fat and heterosexual.

Brian Duffy

I think a fashion photograph is almost a social document that will take you back. The older it gets, the more interesting it is. It shows you how people lived. In my pictures, anyway.

Helmut Newton

I always thought we were selling dreams, not clothes.

Irving Penn

When you’re a fashion photographer, you must inspire a dream.

Patrick Demarchelier

Each time I did assignments or editorials, I realized that I wanted to do something more. I saw that it wasn’t just about the clothes.

Herb Ritts

Working with Models

I like to photograph anyone before they know what their best angles are.

Ellen von Unwerth

This should be the responsibility of photographers today: to free women, and finally everyone, from the terror of youth and perfection.

Peter Lindbergh

I like to give freedom to the people I capture to let them express themselves in the way they want. The results are always very interesting and unexpected, and I think this is how magic works in a way to capture moments.

Peter Lindbergh

You can’t fuck and photograph at the same time. Taking fashion pictures of models is not a matter of arousal. It’s hard work.

Richard Avedon

First of all, a model has to have the perfect ability to show clothes and then for me, there has to be the complexities and the things I know about that have the things I know about, which have to do with the layering of what it is to be a beautiful woman: the vulnerability, the isolation.

Richard Avedon

I never cared for fashion much, amusing little seams and witty little pleats: it was the girls I liked.

David Bailey

The Importance of Casting

If a girl looks like a model, she is not for my lens.

Norman Parkinson

A lot of photographers like models to be blank canvases – but bland girls don’t influence me. I don’t like playing with dolls; I like playing with people.

Mario Testino

I always like to meet the people I’m going to photograph. I need to have a conversation. I need to feel a vibe. I need to see what’s going on in the person. I’m not just interested in physical beauty. I really need a personality.

Mario Sorrenti

When you’re a well-known fashion photographer, modeling agencies call constantly. They’ll say, “This great girl is in town for three days. She’s excellent, she’s exciting. You’ve got to see her…” So I decided to really have a look at them. I opened up my studio and said, “Send anyone…” And I became quite addicted to the whole thing. I was curious to see how many girls would come. I couldn’t believe that there really were so many around.

Juergen Teller

Casting is the central point of my work, because I am not a transforming photographer – I can only shoot people [if] I accept the way they are. I am not a photographer to take any woman; any model and transform her into what you want.

Peter Lindbergh

The Fashion Portrait

For me, every photograph is a portrait; the clothes are just a vehicle for what I want to say. You’re photographing a relationship with the person you’re shooting; there’s an exchange, and that’s what that picture is.

Peter Lindbergh

I didn’t try and do fashion pictures. I tried to do portraits of girls wearing dresses.

David Bailey

A fashion picture is a portrait just as a portrait is a fashion picture.

Irving Penn

I am a portrait photographer. I treat fashion photography like a portraitist… It is the atmosphere and the mood of a portrait which brings clothes to life.

Paolo Reversi

I always thought [my models] looked best when they were sitting in their pajamas smoking pot and getting pissed on a bottle of wine. So that’s what I documented. I liked the girls looking how they were naturally…

Corinne Day

I wanted to make women look good. That really intrigued me. To make a model look as though she owned the clothes.

Brian Duffy

Capturing Movement

One of the most powerful parts about movement is that it’s a constant surprise. You don’t know what the fabric is going to do, what the hair is going to do, you can control it to a certain degree and then there’s a surprise.

Richard Avedon

Never pose your subjects. Let them move about naturally… All great photographs today are snapshots.

Martin Muncaski

When I was modeling, I was always told that I couldn’t move and I should look to the left and the right. When I started to be a photographer, I really encouraged my models to live in front of the camera. I give them roles to play. You get those moments where they show emotion and not just their physical beauty – that’s what I’m looking for.

Ellen Von Unwerth

If ever I took memorable pictures… it would have been because I insisted on seeing the clothes live, walked in, whirled and twirled in.

Norman Parkinson

Creativity and Fantasy

I began trying to create an out-of-focus world – a heightened reality better than real, that suggests, rather than tells you.

Richard Avedon

I still believe that the perfect fashion photograph is a photograph that does not look like a fashion photograph. It’s a photograph that looks like something out of a movie, like a portrait, maybe a souvenir shot, maybe a paparazzi shot, anything but a fashion photograph.

Helmut Newton

I have a notebook where I write down all my thoughts: the ideas, models and locations. If something I did not write it down, then forget everything.

Helmut Newton

Now everyone arrives with photos. This is called a mood board. Mood board means that someone who is inexperienced looks for a lot of photos mixes them together and says: You have to do something like that. Nobody has the creativity to think of something new.

Peter Lindbergh

When you have an idea, a narrative concept, it’s very easy to fill 30 pages up. Every picture has a reason. But when I have to just photograph fashion, I don’t know what to do after ten pages.

Peter Lindbergh

It seems, though, like a lot of photographers sit in their offices or in their studios now and look through fashion magazines and say, “Wow, that story is great! Let’s do something like that!”

Peter Lindbergh

I learned something very early in this business… if I was starting to work on a project, like a big story for Franca [Sozzani] for Italian Vogue, I would look at other pictures. But I learned very early that the more I was looking at other pictures, the less I knew what to do myself. So I figured out that you have to set that aside and just sit down, take a pencil and a piece of paper, and think what you want to do. That is the only way, I think, to do things that are important later.

Peter Lindbergh

The images are real in their own terms; that is what they are. As a fashion photographer, you are a documentary photographer within a fantasy land.

Tim Walker

My pictures are just accidents. I am not a director, merely the agent of chance.

Guy Bourdin

I often photograph something as if the subject matter was realistic, but it is actually a fantasy.

Juergen Teller

When I started to pose the question of how to take a fashion photograph, I would have to imagine certain things and I had a couple of ideas that I used. And I never used the technique I had of taking street photographs, because I thought that would cheapen the other work, so I tried to invent things which would be specifically fashion photographs, done in a specific way.

William Klein

My photos were in the beginning escapist, fantasy, they were aspirational, they would take you to another place — or they were just plain humorous. I was at the top of the magazine world, it was everyone’s dream job who wanted to do that type of photography and I was living that!

David LaChapelle

If you want reality take the bus.

David LaChapelle

Shooting on Location

The world is my studio.

Norman Parkinson

[I like to work] in sunshine. I never work in studios if I can help it, because working in a studio is such hardwork. The greatest photographs always have in them some sort of unplanned accident: the movement, the fun, the gaiety.

Norman Parkinson

Within two hours of where I live, you have mountains and desert as location. I like the natural elements that abstract into light, texture, shape and shadow.

Herb Ritts

I have an instinct for finding the odd location, the dismissed face, the eerie atmosphere, the oppressed mood.

Deborah Lou Turbeville

Sometimes it happens, not very often, that God chooses to give me that ray of sunshine or that cloud, at the right moment. That’s why I work outside, because I know that in the studio God can’t do anything for me, all he could do would be send a thunderstorm that cuts off the electricity. Outside he can help me, he could also fuck me up by sending a lot of rain, that would make it difficult, but he very rarely sends me light that’s no good to me. Practically any light, somehow or other, I can deal with.

Helmut Newton

I have always avoided photographing in the studio. A woman does not spend her life sitting or standing in front of a seamless white paper background. Although it makes my life more complicated, I prefer to take my camera out into the street… and places that are out of bounds for photographers have always had a special attraction for me.

Helmut Newton

The Business of Fashion Photography

Some photographers go to the foundations and beg to hold an exhibition or go off and marry rich women. Or worse yet, they become martyrs with a following. This is because they don’t know how to make money. I don’t beg foundations or the government for money. I earn my living working with magazines and by doing advertising campaigns.

Richard Avedon

There’s always been a separation between fashion and what I call my “deeper” work. Fashion is where I make my living. I’m not knocking it. It’s a pleasure to make a living that way. It’s pleasure, and then there’s the deeper pleasure of doing my portraits. It’s not important what I consider myself to be, but I consider myself to be a portrait photographer.

Richard Avedon

A photographer without a magazine behind him is like a farmer without fields.

Norman Parkinson

Vogue will destroy itself if it goes on like that because everything that’s run by accountants eventually vanishes up its own ass. The only reason I did fashion in the first place was because I thought, “If I’m going to do photography my way, the only way to be creative and get paid is to do fashion.” So I stopped doing it in the ’80s when I started directing more and more commercials.

David Bailey

I have not taken inspiration from fashion shows. I don’t even really go to too many of the fashion shows – and have not for 15 years – because I don’t want to be inspired by the same things as everyone else. If everyone is inspired by the same things, then, of course, you all do the same pictures.

Peter Lindbergh

I think that a lot of people, especially people who work for fashion magazines, feel that their photographs at times are really pretty much discarded or thrown away immediately because when you work for a magazine people today really don’t save magazines like they used to. I just think that as long as one can work and have a good time at it and at least learn something then you’re not discarding what you do. You go out and do a photograph. It should be all about getting onto another photograph.

Bruce Weber

Fashion photography is actually like a cow now because a lot of idiots’ chew over it seven times. Look at the photos that are said to have changed photography: the photographers of that time went out in the morning, took a model with them and did what they wanted.

Peter Lindbergh

Fashion photography is always a commission, which comes with certain constraints and limits… When it is a commission, you have to explain yourself and seduce your client, and this is very difficult because you want to be sincere and they also need to like what you do, and this is not simple. But you know, from the beginning I learned that not everybody can like what you do. You just have to accept this.

Paolo Reversi

I think some of the most successful fashion pictures were just of beautiful clothes. I think that we have gone further and pushed it to kinky because clothes are such shit now. I shouldn’t say that but it’s not like when Irving Penn did a picture of an original Balenciaga where the dress was like architecture. We’ve become a world of H&M. If you are really selling T-shirts and jeans you have to be eye-catching because there are so many images out there. You are inundated all the time, whether it’s on TV or the Internet, buses, bus stops, taxis, or billboards. I guess the only way to get people’s attention is by trying to do something outrageous, but I don’t think it needs to be kinky to be good.

Steven Meisel

There are never any absolutes in the fashion business: one day you may like black and white, the next day you like colour. I think it’s a good lesson that we should never believe too much in any one thing – because the next day it’s out, and if we’re stuck to it, we’re out, too.

Mario Testino

A lot of fashion photographers will do the same sort of image for many years; it’s easier to be successful if you do that.

Mario Testino

On a lot of my shootings now we also make films, because you have to do that now for magazines. We made a lot of shorts recently. I think this year we made, like, 40 shorts. I really enjoyed it. I like that I have more time to take my pictures. And now – years ago when I used to have a job, I used to go away for a week to do ten pages. Now you go away for a day and a half to do ten pages. So, it’s kind of crazy, but, I can keep up with it. I’m proud that I can do it.

Bruce Weber

At the end of the day, photography is ninety-nine percent business, connections, and politics and one percent creativity.

Rankin

I have been heavily criticized in the past at magazines for my black-and-white photography and the aggressive punch – I prefer to call it strong emotion – to the pictures. When everything is virtually disposable I feel these pictures really stand out.

Max Vadukul

In 1952, Liberman said to me, I must cut back on the work you do for Vogue. The editors don’t like it. They say the photographs burn on the page. After some years, I began to understand that what they wanted of me was simply a nice, sweet, clean-looking image of a lovely young woman. I began to do that, and that’s when I became valuable to them and had 200 to 300 pages a year. Up to that point, I had been trying to make a picture. Then I began to try to make a commodity. That’s what I’ve been doing in fashion photography ever since.

Irving Penn

Advice for Aspring Fashion Photographers

You should be constantly asking yourself: What do I want to say next? What do I believe in? Who am I? What is my image? To be a successful photographer, you have to have a unique point of view otherwise you’ll get lost in the mix.

Mario Sorrenti

The average fashion photographer is like a wedding photographer to me – they just do the same old thing.

David Bailey

There’s nothing wrong with being a fashion photographer, but it’s a bit limited.

David Bailey

Make honest work, find your style and realise early on that it’s a business as well as an art. Enthusiasm, energy and creativity are all essential qualities but remember to also put your work out there and to have opinions. People won’t come to you. You need to reach them, and you’re competing with other ambitious individuals who also want what you want. Find your edge and run with it.

Rankin

Work is your life, it’s not a rehearsal. You work 7 days a week so you may as well enjoy those days.

Mario Testino

A good editor, a good stylist, and a good model are what makes a good fashion photograph. That and having a good rapport with your subject. If they’re comfortable with you, they’ll be comfortable in front of your camera.

Arthur Elgort

Many photographers feel their client is the subject. My client is a woman in Kansas who reads Vogue. I’m trying to intrigue, stimulate, feed her. My responsibility is to the reader. The severe portrait that is not the greatest joy in the world to the subject may be enormously interesting to the reader.

Irving Penn

We are not all photographers. We think we are, but we are not. Photography is a language with many styles and vocabularies. For example, everyone can write a postcard – but very few people can write a poem. I think one thing that the field is lacking is that there are not enough obsessives. Obsession is the great motor of creativity. Find your obsessions, your reasons for becoming a photographer. Find your pleasure – and not a cerebral one! Photography should not be devoir [an obligation or a duty; also the word for homework]. Photography is and should feel like a liberty!

Paolo Reversi

If I was advising someone else I’d say you have to work harder than anyone else. If it’s not more important than your love life, family, food, sleep, etc, you’re not gonna make it. What’s great about fashion is it never allows you rest on your laurels. You have to get in it to come in first. There is no union or pension and you’ll be actively dis-encouraged. It’s a lonely job.

Nick Knight

I believe in maniacs. I believe in type As. I believe that you’ve got to love your work so much that it is all you want to do.

Richard Avedon

… you don’t need to be technically great, because if you have a strong philosophy people will be moved by your pictures regardless.

Mario Sorrenti

People buy ideas, they don’t buy photographs.

Annie Leibovitz

My advice for the young? There are two dirty words in photography; one is “art,” and the other is “good taste.”

Helmut Newton

Real artists take chances and risks and they don’t worry about the repercussions or the correctness of things.

David LaChapelle

Be daring, be different, be impractical, be anything that will assert integrity of purpose and imaginative vision against the play-it-safers, the creatures of the commonplace, the slaves of the ordinary.

Cecil Beaton

Fashion Quotes from Non-Photographers

The cover is critical – on a shoot the only thing that really, really matters is the cover.

Stuart Selner

Fashion photography is about fantasy. The fashion pages in magazines are thirty pages of big pictures where the reader can be indulged.

Stuart Selner

Attitude is everything.

Diane von Furstenberg

Fashion has two purposes: comfort and love. Beauty comes when fashion succeeds.

Coco Chanel

Fashion is a language that creates itself in clothes to interpret reality.

Karl Lagerfeld

Fashion changes, but style endures.

Coco Chanel

Simplicity is the keynote of all true elegance.

Coco Chanel

Over the years I have learned that what is important in a dress is the woman who is wearing it.

Yves Saint Laurent

Nothing makes a woman more beautiful than the belief that she is beautiful.

Sophia Loren

I dress for the image. Not for myself, not for the public, not for fashion, not for men.

Marlene Dietrich

Fashion is about dreaming and making other people dream.

Donatella Varsace

I have always believed that fashion was not only to make women more beautiful, but also to reassure them, give them confidence.

Yves Saint Laurent

Fashion is very important. It is life-enhancing and, like everything that gives pleasure, it is worth doing well.

Vivienne Westwood

Fashion is not something that exists in dresses only. Fashion is in the sky, in the street, fashion has to do with ideas, the way we live, what is happening.

Coco Chanel

Fashion is not necessarily about labels. It’s not about brands. It’s about something else that comes from within you.

Ralph Lauren

I think that to be a really great fashion photographer, your pictures have to capture the imagination of people and be timeless, and very few photographers manage to do that.

Jerry Hall

Women should look like women. A piece of cardboard has no sexuality.

Alexander McQueen

Elegance is the only beauty that never fades.

Audrey Hepburn

Elegance is not standing out, but being remembered.

Giorgio Armani

What’s Your Favorite Fashion Photography Quote?

Know another great fashion photography quote? Feel free to share with other readers in the comment section below.

If you’ve enjoyed the article then we would be grateful if you could share on social media and your own blogs.

Finally, don’t forget to bookmark the page and keep checking back for new fashion photography quotes from master photographers.

Related articles:

150+ Portrait Photography Quotes
The 100 Greatest Photography Quotes
The Best Art Quotes from Master Painters

The post Fashion Photography Quotes: 100+ Lessons from Master Photographers appeared first on Photogpedia.

Ellen Von Unwerth Quotes

I like to photograph anyone before they know what their best angles are.

I’m into capturing the moment. Sometimes, I’ll rip the camera out of my assistant’s hands and he’ll be shouting, “But there’s no film in the camera!” and I think, “Never mind! Let’s go.

Fashion is provocative and bold – and to create art there really needs to be a certain amount of freedom.

To be honest, I have always loved to shoot in black-and-white whenever I can. I just think it has more emotion, and it’s timeless, and it just fits better with my pictures.

Sometimes when you have somebody in front of the camera you catch another side to them and you can really see the human being.

Technique undoubtedly helps make photography magical, but I prefer to work with atmosphere. I think that the obsession with technique is a male thing. Boy’s toys. They love playing… but once you’ve perfected something you have to start searching for a new toy. I would rather search for a new model or location.

Everybody thinks they’re a photographer nowadays. It’s a bit of a problem sometimes. Everybody is not a photographer. You have to have an idea, you have to have a notion of lighting, how to capture moments. You know, it’s an art.

Ellen Von Unwerth on Models

I’ve always loved to portray women who are strong, who are playful, who are self-assured, and who really own their sexuality, which is why I love working with Claudia, and Naomi, and all those girls.

I love cinema from the ’50s and ’60s, mostly black and white films. I love Hitchcock, Fellini, I love the French actresses – Brigitte Bardot, Sophia Loren – the women really inspire me. For my pictures, I always make my girls look like movie stars.

[Von Unwerth on her dream subject] Marilyn Monroe (laughs). Can you imagine? She was my dream. If there’s one person in the world I would have loved to shoot, it would be her. She embodies everything I want to portray: vulnerability, sexuality, and strength… Imagine the cover!

I love beautiful women, I love to show their personality, their sexuality. It’s fashion photography, but with fewer clothes.

The women in my pictures are always strong, even if they are also sexy. My women always look self-assured. I try to make them look as beautiful as they can because every woman wants to feel beautiful, sexy and powerful. That’s what I try to do.

Working with Models

It’s part of my personality; I’m very open and to make jokes. We always have loud music. It’s all about the casting; I don’t ask all women to take off their clothes. It’s give and take. You have to know which girls will be on that wavelength. There’s a psychological game in coaxing models to relax. That’s the fun of it. It’s not just about taking the pictures, it’s also to do with communication and direction.

I don’t stand behind the camera drooling. Knowing that, the models are more likely to open up and relax.

When I was modeling, I was always told that I couldn’t move and I should look to the left and the right. When I started to be a photographer, I really encouraged my models to live in front of the camera. I give them roles to play. You get those moments where they show emotion and not just their physical beauty – that’s what I’m looking for.

I don’t want to objectify women, or cast them only in this ‘sexy’ light. I want to see every side of them. There are so many sid-none d-lg-none to women. That’s why some of my best shots come when the girls think the camera has stopped rolling, you’re seeing something different to what they give you when they know they’re being watched, a vulnerability.

There is always a little bit of humor in my pictures and maybe a little bit of a parody of femininity. Girls love to look beautiful and be sexy in front of the camera, especially when it’s with another woman.

I like to go big and wild! I want the models to be silly in front of the camera, I want them to live their life!

Quotes on Camera Phones and Selfies

It’s not special any more to be a photographer. Even when I take a picture, everybody stands next to me and takes the same picture. Five minutes later it’s on everyone else’s Instagram and I’m old news – so I’m forced to take pictures on my iPhone too.

It’s ok to take selfies from time to time, but it annoys me so much to see people walking down the street holding a camera or phone in front of them. I find it sad and, even with people who I really respect, when I see that their Instagram feed is just selfies, it makes me think ‘is that what you’re really all about? Don’t you have anything else to say?’ It’s a sign of the time. Something else will come along.

I find it crazy how women photograph themselves all the time. When I was a girl and looked in the mirror, my stepmother would come in and give me a slap. There was this idea that if you did that, the devil would get in you and steal your personality. Now everyone does this. I ask models sometimes, ‘Do you have to take so many selfies?’ And they say: ‘Only when I take selfies do I get likes.’ It’s sad! Narcissism is so celebrated in our society, sometimes people lose interest in other people.

Quotes on Pushing the Boundaries

I’m a kind of a rebellious character and I love to push the boundaries… I like to give people the freedom to express themselves. I love to bring out the personality and a little bit of the devil, a little bit of something naughty.

It’s good to shock. It’s not good to always be careful. It’s good to disturb a little.

I always give them something to do.When somebody’s not moving I get bored. I take two pictures and I say: ‘Great, I have it now.’ But I love the body in movement. I like the nude body in movement.

Objectifying is about the body; it’s showing the body in a sexy position. To me, the body is great, but it’s about expression and movement. To me, it’s very much in the eyes – most sex appeal, for me, comes from the eyes. It’s more about her personality, than just the body.

I love all the old pictures – of spanking and Bettie Page and corsets. But you can’t do spanking in fashion, so I wanted to do a project where I could really let go and get girls who also love those things.

A sexy picture can come from anyone who forms an intimacy with their subject. You can take a sexy picture of your cat if you want to.

There are so many rules these days with magazines – you cannot do this or that, or they wouldn’t choose the best pictures. So I thought, Why don’t I put my money and energy into my own thing so that every page is exactly how I want it and so I can push the boundaries. Because you can’t really do that these days. It is a fun way to push the boundaries and to go kind of punky and dirty.

What’s your Favorite Ellen Von Unwerth Quote?

Have a favorite Ellen Von Unwerth quote from the list? Let us know in the comment section below.

Don’t forget to bookmark this page, or print it out, and refer to it next time you need some inspiration. Like the article? Share it with other photographers.

To see more of Von Unwerth’s photography, check out her website and follow her on Instagram.

Looking for more words of wisdom from master photographers? Visit the quotes section of Photogpedia for more great photography quotes.

Related Quote Articles:

• Herb Ritts Quotes
• Peter Lindbergh Quotes
• Richard Avedon Quotes
• Fashion Photography Quotes

The post 28 Ellen Von Unwerth Quotes on Fashion and Models appeared first on Photogpedia.

Sir Cecil Beaton (1904 – 1980) was one of the leading portrait and fashion photographers of the early twentieth century. He was also the official court photographer for the British royal family.

Beaton was renowned for his images of elegance, glamour, and style and became Vogue’s first star photographer. He took his first pictures for the magazine in 1924 and continued to work with them for over 30 years.

Although he’s best known for his photography, Beaton was also a successful set and costume designer for stage and film productions, most notably My Fair Lady (1956) and Gigi (1958).

Below we’ve listed 14 quotes from the master photographer to inspire, motivate and help take your photography to the next level.

Cecil Beaton Quotes

You can’t teach people photography, they’ve got to learn how to do it the best way possible for them. They can learn from looking at pictures… but they don’t really get intimate with the medium until they’ve made a few bad shots.

Perhaps the world’s second worst crime is boredom. The first is being a bore.

All I want is the best of everything and there’s very little of that left.

[on Henri Cartier-Bresson] His cherubic, almost simpleton, appearance is most disconcerting – for it gives no indication of the far from simple character of this somewhat twisted artist of the secret, prying lens.

There is always something dramatic about the job of permanently recording the features of a human being, it is the theatre bought to everyday life; the ordinary routine of existence is broken and the tension is heightened.

I want to make photographs of very elegant women taking the lipstick off their teeth.

Be daring, be different, be impractical, be anything that will assert integrity of purpose and imaginative vision against the play-it-safers, the creatures of the commonplace, the slaves of the ordinary.

Beaton on Portraits and his Famous Subjects

Photography has provided me with a passport into many fields of interest which would otherwise have remained unknown. It has enabled me to meet, even if only once, a large number of famous people. Many an afternoon I have enjoyed in isolated intimacy with some personage whose path, but for my profession, I might never have crossed. Sometimes I was never to see them again; but photography has also been the means of discovering lifelong friend.

The telephone rang. “This is the lady-in-waiting speaking. The Queen wants to know if you will photograph her tomorrow afternoon” … In choosing me to take her photographs, the Queen made a daring innovation. It is inconceivable that her predecessor would have summoned me – my work was still considered revolutionary and unconventional.

I was able to bring out many of my familiar tricks, and also deciphered how easy, in comparison to photographing beautiful women of the world, it is to photograph men. The photographer of men has chosen an easy life.

Mrs Woolf’s complaint should be addressed to her creator, who made her, rather than me.

Cocteau says, I am Malice in Wonderland and I have succeeded in spending my life in an unreality made up of fun, so much too much fun and my interests are limited to the joys of certain superficial forms of beauty.

I soon found I had fallen so much under Picasso’s influence that I was seeing the world with eyes other than my own, with Picasso’s eyes in fact. I began to realize that many ordinary objects, pieces of cork, metal and paper, even ordinary boxes of matches – yellow, blue and black – which one sees every day, when seen in his company, look as if they are the creation of the master himself.

What’s your Favorite Cecil Beaton Quote?

Have a favorite Cecil Beaton quote from the list? Let us know in the comment section below.

Don’t forget to bookmark this page, or print it out, and refer to it next time you need some inspiration. If you’ve found the article helpful, then we would be grateful if you could share it with other photographers.

To see more of Cecil Beaton’s wonderful photography, visit the Huxley Parlour and Victoria and Albert websites.

Looking for more words of wisdom from master photographers? Check out the quotes section of Photogpedia for more great photography quotes.

Related Quote Articles:

• David Bailey Quotes
• Horst P Horst Quotes
• Yousuf Karsh Quotes
• 150+ Portrait Photography Quotes

The post 14 Cecil Beaton Quotes on Portraits and Imaginative Vision appeared first on Photogpedia.

Bruce Weber Quotes

I’ve always been shy and that’s partly why I chose a life behind the lens. I like people to look at my work and hopefully it speaks for itself.

I am someone who wakes up in the middle of the night and thinks about the things that I hope for. I end up putting those things in my films and my photographs and my books.

I like to start out each day from the beginning. I’m always learning things.

I think it’s not such a good idea to be so caught up in that fame game kind of thing as a photographer because what’s wonderful is that you can go out in the world and people don’t really know you.

You know, my dad wasn’t a photographer or filmmaker by profession, but on Sundays, he would take pictures of me and my family or his pals horseback riding, and it was a means of communication and affection, a means of not being so dysfunctional with each other.

… I knew how to imagine it. I think any good photographer or director has to have that – a fantasy life other than their own.

[on Instagram] I do feel encouraged however by anything that makes people want to go out and take pictures. I’ve always felt that photography is kind of a tool of democracy.

I always felt that I took pictures for somebody in my family or somebody I was in love with.

Bruce Weber on Style and Influences

Sometimes, with black and white you can explore things a little more. But I like them [b&w and color] both equally. I still shoot film and some of the emulsions in color have changed a lot. For instance, when I first started shooting, I shot in Kodachrome 25 and it was the most gorgeous emulsion. I remember when I had some of it, could afford to buy the film, I just loved using it. I would never use black and white, I would always use Kodachrome 25.

I don’t think it’s so much about what I’m using. When I take photographs I still use film. My assistants, I buy them old cameras to take photographs with film. To do both – I think that’s the healthiest. I’m just from a different time.

I guess if I had to choose something that has really inspired me for my work, it is words and reading.

I always found it great, at least for myself, in books and reading. I’ve tried to show that a little bit, that fantasy world that you get from reading. And you have this vision image, you know.

I don’t really think about what other photographers are doing. I do look at photographs in a way of appreciation. I love to have a lot of photographs around me, so I have a big collection. But I don’t reference how other people do pictures or how they live or where they stay.

Weber on Fashion Photography

When people hire me to photograph for them, I think about the person I’m working for, not the company.

Like, for instance, when I first started working for Calvin Klein, Calvin was out all the time at clubs and parties, he had this really glamorous New York life. In a sense, that’s what I was photographing – his desire, the passion he had to live like that.

When I started working for Ralph, I got to know his family and it really started with family photographs. Ralph and I had a lot of common interests – in cars, old clothes – so I was photographing his world. It wasn’t my world, but it was his world. And that was the fun part of it, to go into these other worlds.

On a lot of my shootings now we also make films, because you have to do that now for magazines. We made a lot of shorts recently. I think this year we made, like, 40 shorts. I really enjoyed it. I like that I have more time to take my pictures. And now – years ago when I used to have a job, I used to go away for a week to do ten pages. Now you go away for a day and a half to do ten pages. So, it’s kind of crazy, but, I can keep up with it. I’m proud that I can do it.

I think that a lot of people, especially people who work for fashion magazines, feel that their photographs at times are really pretty much discarded or thrown away immediately because when you work for a magazine people today really don’t save magazines like they used to. I just think that as long as one can work and have a good time at it and at least learn something then you’re not discarding what you do. You go out and do a photograph. It should be all about getting onto another photograph.

Documentary and Short Film Projects

When you make documentaries or short films, you have to have eyes and ears in the back of your head and on the sides and all around you. I like that in my films.

I really use each of them as a school for the other, within itself too. By that I mean that because I photograph at the beginning of my films and all the time through, I kind of felt that my pictures got freer because you couldn’t control it so much.

You could have somebody sit here but when they move around they might not look the way that they did when they sat for you. So, it’s exciting to me. I want to make films like a photographer. I was always proud that I was a photographer.

People, at first, when I first did my first film, Broken Noses, they were really tough on me because I did fashion photographs. I stood up to it; I was really proud of it. I laugh now because all the actors and actresses, they all wanted to be fashion models, which is really weird. I laugh at it.

Sometimes you meet somebody, you think, “I want to make a film about this person. That would be fun, even a short film, five minutes.” But then the more you start getting into it, the more you know you don’t want to do it. Because you have to give up so much, you know? I think all these films, for any filmmaker, whether it’s a feature or a documentary – labels aren’t important – I think you have to give up a lot of your inner life to do it.

Weber Quotes for Better Photography

You have to fight for your work – everybody has to. You have to be able to get knocked down and stand back up. You can’t let it stay on your shoulders. I see a lot of photographers who do their thing and put their soul in it and in the end it is all changed, but their name is still on it. So I do what Dick Avedon told me once and I just go out on each job and take pictures for myself. I’ll photograph trees or if I meet a really handsome guy or girl I’ll take their picture, even if they’re not part of the set. I’m going to try to learn something. Even if a picture is not so good, at least I can go back to bed at night and think: “Wow, did I learn something today?”

I had the great chance of meeting and getting to know Diane Arbus, and she always said to me something like, “Hey, don’t let those things cut you – your mistakes or your triumphs, if there are any.”

I always tell my assistants who are young photographers that they should have a strong life, have a viewpoint. Go out in the world and live!

What’s your Favorite Bruce Weber Quote?

Have a favorite Bruce Weber quote from the list? Let us know in the comment section below.

Don’t forget to bookmark this page, or print it out, and refer to it next time you need some inspiration. If you’ve found the article helpful, then we would be grateful if you could share it with other photographers.

To learn more about Bruce Weber’s photography, head over to the official Bruce Weber website.

Looking for more words of wisdom from master photographers? Check out the quotes section of Photogpedia for more great photography quotes.

Related Quote Articles:

• Peter Lindbergh Quotes
• Richard Avedon Quotes
• Herb Ritts Quotes
• 150+ Portrait Photography Quotes

The post 23 Bruce Weber Quotes on Fashion Photography and Inspiration appeared first on Photogpedia.

Duffy, along with David Bailey and Terence Donovan, revolutionized fashion photography and helped define the visual style of the Swinging Sixties.

He wasn’t just a remarkable fashion photographer though, he was also known for his innovative advertising work (long before the days of photoshop) and was a master portrait photographer too. He even shot the Pirelli calendar on two separate occasions.

Then at the height of his fame in 1979, Duffy did the unthinkable: he put away his camera and walked away from photography for good.

Below, we’ve put together a list of our favorite 30 Duffy quotes to inspire and help take your photography to the next level.

Brian Duffy Quotes

The thing about the photographs is that there is no smell or sound and in a sense it tells the truth and yet it is a lie.

One of the great problems with photography is that any twat you give a camera to can take a photograph – what that does to the photographer is immediately create an inferiority complex within him because anyone can do it, which of course they can. I worked this out very early on.

I can show anybody how to take a photograph, but I’m not sure how to show somebody how to take a Duffy photograph.

I never used a lot of film – it’s like boxing; perfect boxing is 11 seconds: one second to get to the centre of the ring and 10 seconds to keep your hands up, but they were all done in camera – with absolutely no retouching.

I never wanted to be famous. Artists are always talking drivel, including moi, because the work is the statement.

[On how he’d like to be remembered, Duffy replied:] He wasn’t as steady as a tripod.

Duffy on Getting Started in Photography

I could paint and draw, but in my group were artists like Frank Auerbach, Joe Tilson, Bernard Cohen and Len Deighton – they were all my contemporaries and I realised that all these bloody people were geniuses. So I thought I’d knock that on the head. And the most attractive girls were doing dress design, so I moved to the fashion department, which had some lovely girls in it. You had to do fashion drawing, design dresses and make them, and it turned out I was an absolute bloody genius!

I was doing fashion drawings for Harper’s Bazaar, and I was in the office of the art director, a woman called Gill Varney, and I saw sheets of contact photographs that all looked alike to me. I asked Gill why the photos were all the same, and she explained they were all slightly different.

I thought, ‘Gawd this looks dead easy compared to the drawing lark. I’ll give this a whiz. Take up photography as an easy way to make money. Just my sort of thing – women, gadgets, clothes – I must have a go at it.’

Brian Duffy Quotes on Fashion Photography

When I arrived at Vogue [in the late 1950s] it was virtually full of non-talented people, right the way through from top to bottom. These were people with s – taste; they were all phonies. You have to remember in those days it was very class-ridden. The girls on reception nearly always had double-barrelled names. It was very elitist – Lady Jemima Fawcett-Green, -Blue or -Pink – girls with fruitcake voices and thick legs, quite sweet, but not very bright, girls with pin-sized brains.

In all my time at Vogue I only did four trips. Other people did trips all the time – they wouldn’t let me out of the cage, probably rightly so.

I wanted to make women look good. That really intrigued me. To make a model look as though she owned the clothes.

The Black Trinity

Most of the photographers of that period [the late 1950s] – Parkinson, John French, Dickie Dormer – had a slightly effeminate approach, and that was the way they got through. The way to be a successful photographer was to be tall, thin and camp – you were seen to be inside the tent, and we [Duffy, Terence Donovan, David Bailey] were not. I’m not saying they were all homosexuals but a lot of them were. I can never remember Terry calling someone darling, it might have been ‘Oi, you, missus!’

Before 1960, a fashion photographer was tall, thin and camp. But we three are different: short, fat and heterosexual.

Bailey, Donovan and other photographers just didn’t have that slightly feminised view; we would just talk to the girls and make them laugh. We probably said, ‘Would you mind moving your hair back off your face?’ or, ‘All right love, hold your Bristols up more. That looks good.’ Before that it would all have been obsequious toadyism, but our way seemed to work, and we were backed up by people who liked it.

We were great mates but also great competitors. We were fairly chippy and if you wanted it you could have it. We would not be told what to do.

Duffy on Working for Elle France

I went over to Paris and worked for Elle in 1961, while I was still at Vogue , and I fell in love with them, hatefully of course. The French are the most dreadful people on earth – well, the Parisians – and I must have had some masochistic attraction to them. They were like a drug to me, and I just adored working for them. You never got anything right as far as they were concerned.

As soon as you did something, there was a dreadful, long, intellectual discussion, always a long pause, and a scratching of the head. They were never negative to the point of putting you down – some people look for negativity, but the Frogs always looked for the positive.

If all the photographs were out of focus the Brits would think, ‘Oh God, he doesn’t know what he’s doing,’ whereas the Frogs would think, ‘Mmm, that’s interesting. I wonder if this is an attempt to express visual perception in a different way?’ And then of course they’d say, ‘Well, it could be a broken camera!’ But that’s the difference.

David Bowie’s Album Aladdin Sane

The photograph was a die transfer, which I oversaw and it was all actual, no retouching.

Tony DeFries, his [then] manager, wanted to make the most expensive cover you could possibly get a record company to pay for. He couldn’t have come to be a better con artist than my good self.

Dye transfer is a genius method of being able to spend the most amount of money to get reproduction from a colour transparency on to a piece of paper. And we went to Switzerland, the most expensive place to get a plate made.

Bowie was interested in the Elvis ring which had the letters TCB [taking care of business] as well as the lightning flash. I drew the design on his face. We used lipstick to fill in the red.

To me, it [the cover] was competent, very competent, but I wouldn’t take it much beyond that.

I drew the zigzag onto his face. It was the trademark for National Panasonic – a red and blue zigzag that I took from a rice cooker. It also came from Elvis Presley, who had a ring with a lightning flash on it.

The Final Curtain

Photography was dead by 1972. Everything had been resolved between 1839 and 1972. Every picture after ‘72, I have seen pre-‘72. Nothing new. But it took me some time to detect its death. The first person who twigged was Henri Cartier-Bresson. He just stopped – and started painting and drawing.

Ninety-nine per cent of my work was advertising and crap. The people who were hiring me I didn’t like. Keeping a civil tongue up the rectum of a society that keeps you paid is an art which I was devoid of. I had nothing more to say in photographs. I’d taken all the snaps I needed to take. Maybe I didn’t think I was good enough.

In the end I guess I was the ultimate prostitute. It felt like I was on the game, because I had no respect for the people who were giving me work. If you don’t have any respect for them and you think they’re a bunch of toerags, you’d hardly have any respect for yourself, so it’s cyclical in the way that you think about yourself.

The Last Straw

I came into work, and an assistant said, ‘We haven’t got any lavatory paper, bog paper – you know, toilet paper,’ and I said, ‘Oh yeah,’ and he said, ‘We haven’t got any.’ I thought, ‘I am either going to kill this bloke or I am going to kill somebody.’ I realised in a flash that I’d ended up commander-in-chief, managing director, senior partner in charge of the toilet bloody paper.

Not only was I the senior stockholder, managing director, chairman of the board and top dog, I was now expected to get the toilet paper – the whole thing imploded. It was the straw that broke the camel’s back.

And that’s when I decided to knock it on the head, and that I would never take another picture. During the course of the morning I decided to burn all my negatives in the garden. Bailey happened to come round and could see what I was doing, and he stood there like a spare d – at an Italian wedding and said, ‘I could look after those for you,’ but I said, ‘Don’t bother,’ and he went.

I felt everything I had to do and say in photography had been done. Later I wished I’d kept some negs. Looking back on odd things we’ve found, I’d love to have known the sequence of prints, only from an historical point of view.

You make decisions in one period that you wouldn’t necessarily make in another. But it’s stimulating to try something new, it’s interesting to be crazy. The one thing I’ve never done is make a wrong decision as a single entity. They’ve all been wrong.

What’s your Favorite Brian Duffy Quote?

Have a favorite Brian Duffy quote from the list? Let us know in the comment section below.

Don’t forget to bookmark this page, or print it out, and refer to it next time you need some inspiration. If you’ve found the article helpful, then we would be grateful if you could share it with other photographers.

To see more of Brian Duffy’s photography, check out his images on the Duffy Archive website. His fashion and portrait work is incredible. We also recommend watching the documentary, Duffy: The Man Who Shot the Sixties (opens in new tab).

Looking for more words of wisdom from master photographers? Visit the quotes section of Photogpedia for more great photography quotes.

Related Quote Articles:

• David Bailey Quotes
• Terence Donovan Quotes
• Norman Parkinson Quotes
• The 100 Greatest Photography Quotes

The post 30 Brian Duffy Quotes on Fashion Photography and the Sixties appeared first on Photogpedia.

Lee Miller Quotes

I would rather take a photograph than be one.

There were lots of things, touching, poignant or queer I wanted to photograph…

I keep saying to everyone, ‘I didn’t waste a minute all my life’ – but I know myself, now, that if I had it over again, I’d be even more free with my ideas, with my body and my affection.

It seems to me that women have a bigger chance at success in photography than men… Women are quicker and more adaptable than men. And I think they have an intuition that helps them understand personalities more quickly than men.

I’m no good with my hands, though I am good with a screwdriver – taking a camera apart. But sewing on a button? I could scream.

The personality of the photographer, his approach, is really more important than his technical genius.

Quotes on the Work

[Being a great photojournalist is] a matter of getting out on a damn limb and sawing it off behind you.

Something crawled across my foot in the darkroom and I let out a yell and turned on the light. I never did find out that it was, a mouse or what. Then, I quickly realized that the film was totally exposed…Man [Ray] grabbed them, put them in hypo and looked at them later. He didn’t even bother to bawl me out, since I was so sunk. When he looked at them, the unexposed parts of the negative, which had been the black background, had been exposed by this sharp light that had been turned on and they had developed and came right up to the edge of the white, nude body. But the background and the image couldn’t heal together, so there was a line left which he called a “solarization.”

Miller on the rediscovery of solarization technique

No question that German civilians knew what went on. Railway into Dachau camp runs past villa, with trains of dead or semi-dead deportees. I usually don’t take pictures of horrors. But don’t think that every town and every area isn’t rich with them. I hope Vogue will feel it can publish these pictures.

I want the Utopian combination of security and freedom and emotionally, I need to be completely absorbed in some work or in a man I love.

Lee Miller and World War II

Women war photographers had to fight on two fronts: the bombs, and the men.

Paris had gone mad. The long, graceful, dignified avenues were crowded with flags and filled with screaming, cheering, pretty people. Girls, bicycles, kisses and wine, and around the corner sniping, a bursting grenade and a burning tank. The bullet holes in the windows were like jewels, the barbed wire in the boulevards a new decoration.

We heard bombers approaching over our shoulders… I had the clothes I was standing in, coupla-dozen rolls of film, and an eiderdown blanket roll. I was the only photographer for miles around and I now owned a private war.

I sheltered in a dugout, squatting under the ramparts. My heel ground into a dead, detached hand… I ran back the way I’d come, bruising my feet and crashing into unsteady piles of stones, slipping in blood… Christ, it was awful.

Nearly all the photographs I ever took have disappeared – lost in New York! Thrown away by the Germans in Paris, bombed and burned in the London blitz, and now I find Condé Nast has just casually scrapped everything I did for them, including war pictures.

I’d been carrying Hitler’s Munich address around in my pocket for years and finally I had a chance to use it. But my host wasn’t home. I took some pictures of the place and also I got a good night’s sleep in his bed. I even washed the dirt of Dachau off in his tub.

What’s your Favorite Lee Miller Quote?

Have a favorite Lee Miller quote from the list? Let us know in the comment section below.

Don’t forget to bookmark this page, or print it out, and refer to it next time you need some inspiration. If you’ve found the article helpful, then we would be grateful if you could share it with other photographers.

To see more of Miller’s incredible photography, head over to the Lee Miller Archive website.

Looking for more words of wisdom from master photographers? Check out the quotes section of Photogpedia for more great photography quotes.

Related Quote Articles:

• Man Ray Quotes
• Julia Margaret Cameron Quotes
• Bill Brandt Quotes
• Photojournalism and Documentary Photography Quotes

The post 16 Lee Miller Quotes: From Fashion Model to War Photographer appeared first on Photogpedia.

Klein was also an innovative fashion photographer and made several films, including the first ever Muhammad Ali documentary and a feature length satire on the fashion world, Who Are You, Polly Maggoo?

In this article we’ll be sharing our favorite William Klein quotes to help to your photography to the next level. If you find the article helpful, we would be grateful if you could share it with other photographers.

William Klein Quotes

Every photograph, I look at the contact, it brings back memories of everything, how I was feeling, tired, full of beans, photography is like that.

You look at a contact sheet with a magnifying glass and you see a shot, suddenly it all comes back – that was a nice day, you wanted a walk, your feet were hurting, you felt that you would hit on something.

I think there are two kinds of photography… If you look at modern photography, you will find, on the one hand the Weegees, the Diane Arbuses, the Robert Franks – funky photographs. And then you have the people who go out in the woods. Ansel Adams, Weston. It’s like black and white jazz.

I liked Cartier-Bresson’s pictures, but I didn’t like his set of rules. So I reversed them. I thought his view that photography must be objective was nonsense. Because the photographer who pretends he’s wiping all the slates clean in the name of objectivity doesn’t exist.

Anybody who pretends to be objective isn’t realistic.

How can photography be non-committal? Cartier-Bresson chooses the photograph this subject instead of that, he blows up another shot of the subject, and he chooses another one for publication. He’s making a statement. He’s making decisions and choices every second. I thought, if you’re doing that, make it show.

I have a special relationship with God. And when I take the right photograph, God gives me a little bing! in the camera. And then I know I’m on the right track.

I find if I look back that half of everything I’ve done is chance.

My photographs are the fragments of a shapeless cry that tries to say who knows what… What would please me most is to make photographs as incomprehensible as life.

Be yourself. I much prefer seeing something, even it is clumsy, that doesn’t look like somebody else’s work.

William Klein Quotes

Klein on Street Photography

I went out on the street and I just photographed the shit out of New York. I was free to do what I wanted and I didn’t know that I was doing anything revolutionary. I was fascinated with faces, and I would go into crowds and really take photographs point-blank and nobody would look at me.

Robert Capa said, “If you’re photograph is not good, it’s because you’re not close enough.” I heard that many years after the way I had discovered how I wanted to take photographs or film.

I was very consciously trying to do the opposite of what Cartier-Bresson was doing. He did pictures without intervening. He was like the invisible camera. I wanted to be visible in the biggest way possible.

I was taking pictures for myself. I felt free. Photography was a lot of fun for me. First of all I’d get really excited waiting to see if the pictures would come out the next day. I didn’t really know anything about photography, but I loved the camera.

I wanted to “own” what I was seeing. By accumulating documents about people I came across in the streets, or by combining people, objects around them, places… I was under the impression that I owned all that, that everything belonged to me, that it was mine. Later, the darkroom allowed me to express this ownership on a sheet of light-sensitive photographic paper. So, there was this relationship, and this “photographic shot” side that was not unpleasant. We point, we cock, we shot… And that’s it, to a certain extent, it’s like killing the subject by owning him, by freezing the subject in time and space. Do we not say “shoot” in English?

With all these so-called great photographers – Cartier-Bresson and Doisneau – everything is so hunky dory.

Rather than catching people unaware, they show the face they want to show. Unposed, caught unaware, they might reveal ambiguous expressions, brows creased in vague internal contemplation, illegible, perhaps meaningless. Why not allow the subject the possibility of revealing his attitude toward life, his neighbor, even the photographer? Both ways are valid to me.

In any case, very often people did things I couldn’t have organized or imagined. A mother points a toy gun at her child’s temple. Maybe I asked her to do it, I honestly forget. But lets say I did, out of some perverse inspiration. At the same time, though, she holds the child’s hand in the most tender, touching way.

The way a subject reacts to the camera can create a kind of happening. Why pretend the camera isn’t there? Why not use it? Maybe people will reveal themselves as violent or tender, crazed or beautiful. But in some way, they reveal who they are. They’ll have taken a self-portrait.

A lot of people in my photographs either look at me, or there is somebody to the side who is looking at the group and saying, “What is this guy photographing?” It wasn’t usual at that time. This was 1955, ’54. It was kind of surprising for a lot of people to see me photographing them.

I feel like I’m doing something that’s worthwhile. I feel like I’m showing something other people haven’t shown. I don’t get to talk to the people who I photograph, I just go, along, banging away. So I don’t really have a relationship with them. A lot of people think it’s very important. I don’t. It’s like love at first sight. I have an impression when I see somebody, and I have an idea of who they are, or what they are.

I’m not innvisible, but I don’t make a deal out of taking photographs, so people don’t really feel my presence… I do things very normally and find that’s the best way to work.

I don’t roam around with a camera and never did. I took pictures in spurts, for my books, for some assignments or on special occasions. Like people who take out their cameras for Christmas and birthdays. Each time, like them, probably, I feel it’s the first time and as if I would have to relearn the moves. Luckily, it comes pretty fast, like riding a bike.

Photographing Cities

The idea of having these cities as the subject of the book was something that came naturally. It became a specialty of mine to do books on cities. So I did about seven cities.

Having lived in France for several years, I thought I had one eye that was European and one that was a street-smart New Yorker.

If I went to Moscow, it’s because I wanted to see how people in a socialist country [were] living, and I hope that the photographs I took would make sense to people… to Russians… to everybody.

I’ve noticed that in general the Paris of photographers… was romantic, foggy and above all, ethnically homogeneous. But for me, Paris was, as much as and perhaps more than New York, a melting pot. A cosmopolitan city, multicultural and totally multiethnic, whatever Le Pen thinks.

In Tokyo [the camera] was more of a mask, a disguise. I had only the vaguest clue to what was going on. I wasn’t there to judge anything. I was an outsider and felt pretty uncomfortable sometimes. Have you ever eaten an official Japanese dinner for four hours on your knees? It was different in New York.

I would say looking back that the book I did [on] New York was my favorite.

William Klein Quotes

Klein’s New York Book

I thought New York had it coming, that it needed a kick in the balls. When I returned to New York, I wanted to get even. Now I had a weapon, photography.

Before my book on New York, I was a painter. When I came back to the city in 1954, after six years away, I decided to keep a photographic diary of my return. These were practically my first ‘real’ photographs. I had neither training nor complexes. By necessity and by choice, I decided that anything would have to go.

In a way its true I had a lot of old scores to settle. I was involved. According to the Henri Cartier-Bresson scriptures, you’re not to intrude or editorialize, but I don’t see how that’s possible or why it should be. I loved and hated New York. Why shut up about it?

The New York book was a visual diary and it was also kind of personal newspaper. I wanted it to look like the news. I didn’t relate to European photography. It was too poetic and anecdodtal for me… The kinetic quality of New York, the kids, dirt, madness… I tried to find a photographic style that would come close to it. So I would be grainy and contrasted and black. I’d crop, blur, play with the negatives. I didn’t see clean technique being right for New York. I could imagine my pictures lying in the gutter like the New York Daily News.

I saw the book I wanted to do as a tabloid gone berserk, gross, grainy, overinked, with a brutal layout, bull-horn headlines. This is what New York deserved and would get.

In rough neighborhoods in New York [sometimes]… it’s better not to look. So if you point a camera at a stranger, you’re almost breaking a tradition of not getting involved. Yet in a way, the camera erases involvement. Its accepted.

They didn’t know I might be photographing a hundred other things going on behind them – someone lurking in the background, a shadow, a reflection, posters, traffic, junk. [I’d say], ‘Hold it! Don’t move! Hey, look this way!’ People would say, ‘What’s this for?” I’d say, ‘The News.’ ‘The News! Wow! No shit!’ I didn’t much care.

In New York I took responsibility for the people I photographed. I felt I knew them – the people, the way they relate to each other, the streets, the buildings, the city. And I tried to make sense of it all. I just photographed what I saw though its true I used the camera as a weapon in New York.

It was a period of incredible excitement for me – coming to terms with myself, with the city I hated and loved, and with photography. Every day for months I was out gathering evidence. I made up the rules as I went along and they suited me fine.

I was a make believe ethnographer: treating New Yorkers like an explorer would treat Zulus – searching for the rawest snapshot, the zero degree of photography.

William Klein Quotes

Finding a Publisher for the Book

I spent six months in New York at that time and thought I had a book. So I went to publishers here, in New York, and got nowhere. Most of the people who looked at the photographs looked at the work and said “What kind of book is this? You make New York look like a slum.” I said, “Yeah, New York is a slum.” “What kind of New York are you showing me, everything black and awful?” I said, “No, you live on Fifth Avenue and your office is on Madison. You’ve never been to the Bronx, you’ve never been to Queens or Flatbush. This is the real New York.

In the 1950s I couldn’t find an American publisher for my New York pictures. Everyone I showed them to said, “Ech! This isn’t New York – too ugly , too seedy and too one-sided.” They said, “This isn’t photography, this is shit!”

The layout of my first book was directly inspired by a journal, a tabloid called “New York Daily News” and that was published every day in 3 million copies…That’s how I conceived all my other books, as an extension of a photographic journal across the globe.

The resulting book went against the grain thirty years ago. My approach was not fashionable then nor is it it today.

Photogpedia is an Amazon Associate and earns from qualifying purchases.

Recommended book: William Klein: New York 1954-55

Klein’s New York book is one of the most influential photobooks ever published. His black and white, grainy images perfectly capture the energy of the city and take the viewer on a journey around the neighbourhoods of ’50s New York.

William Klein on Fashion Photography

Fashion came into my life by accident. Liberman had seen an exhibition that I had and he said, “I like what you are doing. Why don’t you come and talk to me at Vogue and we’ll see what we can do together.” I didn’t start making fashion photographs for Vogue. I was financed by Vogue to do this book on New York. As far as fashion was concerned, Liberman said to me at one point, “we are financing these wonderful photos you are taking in the street but we are a fashion magazine. So why don’t you try your hand at fashion?”

I had no idea how to start. I started to look at the fashion magazines, and what was being done. I discovered Penn and Avedon, and for me these were the ideal photographers. For me it was a golden era.

When I started to pose the question of how to take a fashion photograph, I would have to imagine certain things and I had a couple of ideas that I used. And I never used the technique I had of taking street photographs, because I thought that would cheapen the other work, so I tried to invent things which would be specifically fashion photographs, done in a specific way.

[On Vogue magazine fashion editors] I never went to those meetings – all those women with hats and thick glasses.

Mirrors. I thought that if I have mirrors, then I could shoot the girls on the mirrors. Shoot from the back and I would have a composite photograph.

I discovered working with a telephoto lens was something that I dug. Went out onto the streets with these girls, and told them to cross the street and mix in with traffic and people. And that was the first real, big assignment I gave myself.

I like these situations where things just developed.

[on his most famous fashion photo] I had these girls walking back and forth, doing double-takes because they more or less had the same dress. I was experimenting… with a tele-photo. Nobody could see me. I was half-way up the steps. These men didn’t understand. They thought they were hookers. They walked up and started feeling their ass. The editor from Vogue started panicking and she said, “We’re going to create a scandal.” So we had to stop.

All the photographic stores were besieged by photographers, buying telephoto lenses for their fashion shoots. I think it’s a good idea. I still think it’s a good idea.

[on Who Are You, Polly Maggoo?] The film isn’t about fashion, it’s about media. Fashion is part of media. It is also something which is pretty funny, graphic and inventive. I thought, “lets do a film on fashion.”

William Klein on Photography Technique

I photographed the panels, and the light wasn’t very good, so the exposure was long, and I had Jan my wife Jan, turn panels while I photographed, and I saw these geometrical forms, which blurred, and I thought, well, maybe this is something new. And I had the idea that if I had a negative, I could do anything with it.

Quite deliberately, I did the opposite to what was usually done. I thought that an absence of framing, chance, use of the accidental and a different relationship with the camera would make it possible to liberate the photographic image. There are some things that only a camera can do. The camera is full of possibilities as yet unexploited. But that is what photography is all about. The camera can surprise us. We must help it do so.

I would look at my contact sheets and my heart would be beating, you know. To see if I’d caught what I wanted. Sometimes, I’d take shots without aiming, just to see what happened. I’d rush into crowds – bang! Bang! I liked the idea of luck and taking a chance, other times I’d frame a composition I saw and plant myself somewhere, longing for some accident to happen.

Choosing location, maybe a symbolic spot, the light and perspective – and suddenly you know the moment is yours. It must be close to what a fighter feels after jabbing and circling and getting hit, when suddenly theres an opening, and bang! Right on the button. It’s a fantastic feeling.

If you look carefully at life, you see blur. Shake your hand blur is a part of life. But why must a photograph be a mirror?

I had neither training nor complexes. By necessity and choice, I decided that anything would have to go. A technique of no taboos: blur, grain, contrast, cock-eyed framing, accidents, whatever happens.

I have always loved the amateur side of photography, automatic photographs, accidental photographs with uncentered compositions, heads cut off, whatever. I incite people to make their self-portraits. I see myself as their walking photo booth.

Photography Equipment Quotes

When I started, I only had two lenses: a 50mm and a 135mm. I was very frustrated with the 50 mm and the telephoto lens. I could not put enough things, not enough people in the photo. So I went to a shop and the salesman made me try a 28mm. I immediately went outside and started taking pictures, and I was able to get as close as I wanted to things and people, whilst adding all I wanted in the frame, whilst staying sharp. It was my beginnings with a 28mm, it was a good length. I don’t know if it still exists.

The right filter, the right film, the right exposure – none of that interested me very much. I had only one camera to start with. Secondhand two lenses no filter, none of that. What interested me was getting something on film to put into an enlarger, maybe to get another picture. And I was in a big hurry. Once I got used to everything in New York I knew the trance would wear off. So I took pictures with a vengeance.

I used the wide-angle lens as a normal lens. I had no philosophy about it. When I looked in the viewfinder and realized I could see all the contradictions and confusion that was there with the wide-angle – that was what was great.

I photograph what I see in front of me, I move in close to see better and use a wide-angle lens to get as much as possible in the frame.

I’m not deliberately distorting. I need the wide-angle to get a lot of things into the frame. Take the picture of may day in Moscow. With a 50mm jammed between the parade and the side-walk, I would have been able to frame only the old lady in the middle. But what I wanted was the whole group – the tartars, the Armenians, Ukranians, Russians, an image of empire surrounding one old lady on a sidewalk as a parade goes by.

Most things I did with photography are considered acceptable today – except maybe this use of a wide-angle. It seemed more normal to me than the 50mm lens. You could even say the 50mm is an imposition of a limited point of view. But neither lens is really normal or correct. Because in life we see out of two eyes, whereas the camera has only one. So whatever lens is used, all photographs are deformations of what you actually see with your eyes.

The Anti-Photograph

In photography, I was interested in letting the machine loose, in taking risks, exploring the possibilities of film, paper, printing in different ways, playing with exposures, with composition and accidents. Its all part of what an image can be, which is anything. Good pictures, bad pictures – why not?

I came from the outside, the rules of photography didn’t interest me… there were things you could do with a camera that you couldn’t do with any other medium… grain, contrast, blur, cock-eyed framing, eliminating or exaggerating grey tones and so on. I thought it would be good to show what’s possible, to say that this is as valid of a way of using the camera as conventional approaches.

So who can pin down photography? We’re drunk with images. [Sontag’s] sick of it. I’m sick of it. But we’re moved by old amateur photographs because they aren’t concerned about theories of photography or what a picture must be. They’re just photographs without rules or dogma.

I have always done the opposite of what I was trained to do… Having little technical background, I became a photographer. Adopting a machine, I do my utmost to make it malfunction. For me, to make a photograph is to make an anti-photograph.

What’s your Favorite William Klein Quote?

Have a favorite William Klein quote from the list? Let us know in the comment section below.

Don’t forget to bookmark this page, or print it out, and refer to it next time you need some inspiration. If you’ve enjoyed the article, we would be grateful if you could share it with other photographers.

To see more of Klein’s remarkable street and fashion photography, check his artist profile at ArtNet.

Looking for more words of wisdom from master photographers? Visit the quotes section of Photogpedia for more great photography quotes.

Related Quote Articles:

• Daido Moriyama Quotes
• Henri Cartier-Bresson Quotes
• Bill Brandt Quotes
• Street Photography Quotes

The post 70 William Klein Quotes: Rewriting the Rules of Photography appeared first on Photogpedia.

Edward Steichen Quotes

A photograph is worth a thousand words, provided it is accompanied by only ten words.

Once you really commence to see things, then you really commence to feel things.

When that shutter clicks, anything else that can be done afterward is not worth consideration.

Long before the birth of a word language the caveman communicated by visual images. The invention of photography gave visual communication its most simple, direct, universal language.

Usefulness has always been attractive in the art of photography.

Photography records the gamut of feelings written on the human face – the beauty of the earth and skies that man has inherited; and the wealth and confusion that man has created. It is a major force in explaining man to man.

You know… that a blank wall is an appalling thing to look at. The wall of a museum – a canvas – a piece of film – or a guy sitting in front of a typewriter. Then, you start out to do something – that vague thing called creation. The beginning strikes awe within you.

Every other artist begins (with) a blank canvas, a piece of paper… the photographer begins with the finished product.

When I first became interested in photography… my idea was to have it recognized as one of the fine arts. Today I don’t give a hoot in hell about that. The mission of photography is to explain man to man and each to himself. And that is the most complicated things on earth and almost as naïve as a tender plant.

Photography is a medium of formidable contradictions. It is both ridiculously easy and almost impossibly difficult. It is easy because its technical rudiments can readily be mastered by anyonwith a few simple instructions. It is difficult because, while while the artist working in any other medium begins with a blank surface and gradually brings his conception into being, the photographer is the only imagemaker who begins with the picture completed. His emotions, his knowledge, and his native talent are brought into focus and fixed beyond recall the moment the shutter of his camera has closed.

Steichen on Portraits and Nude Photography

Most photographers seem to operate with a pane of glass between themselves and their subjects. They just can’t get inside and know the subject.

A portrait must get beyond the almost universal self-consciousness that people have before the camera. If at some moment of reality… did not happen, you had to provoke it in order to… awaken a genuine response.

A portrait is not made in the camera but on either side of it.

The people in the audience looked at the pictures, and the people in the pictures looked back at them. They recognized each other.

In none of these figures is the face visible. For many years everyone had prejudices against posing in the nude, and even professional models usually insisted, when they posed for nude pictures, that their faces be not shown.

Equipment and Light Quotes

No photographer is as good as the simplest camera.

I was coming to realize that the real magician was light itself – mysterious and ever-changing light with its accompanying shadows rich and full of mystery.

Some day there may be… machinery that needs but to be wound up and sent roaming o’er hill and dale, through fields and meadows, by babbling brooks and shady woods – in short, a machine that will discriminately select its subject and, by means of a skillful arrangement of springs and screws, compose its motif, expose the plate, develop, print, and even mount and frame the result of its excursion, so that there will be nothing for us to do but to send it to the Royal Photographic Society’s exhibition and gratefully to receive the ‘Royal Medal’

Steichen on Printing

It is rather amusing, this tendency of the wise to regard a print which has been locally manipulated as irrational photography – this tendency which finds an esthetic tone of expression in the word faked. A manipulated print may be not a photograph. The personal intervention between the action of the light and the print itself may be a blemish on the purity of photography. But, whether this intervention consists merely of marking, shading and tinting in a direct print, or of stippling, painting and scratching on the negative, or of using glycerine, brush and mop on a print, faking has set in, and the results must always depend upon the photographer, upon his personality, his technical ability and his feeling. BUT long before this stage of conscious manipulation has been begun, faking has already set in.

In the very beginning, when the operator controls and regulates his time of exposure, when in dark-room the developer is mixed for detail, breadth, flatness or contrast, faking has been resorted to. In fact, every photograph is a fake from start to finish, a purely impersonal, unmanipulated photograph being practically impossible. When all is said, it still remains entirely a matter of degree and ability.

Edward Steichen Quotes on Art

Art for art’s sake is dead, if it ever lived.

The use of the term “art medium” is, to say the least, misleading, for it is the artist that creates a work of art not the medium. It is the artist in photography that gives form to content by a distillation of ideas, thought, experience, insight and understanding.

Today I am no longer concerned with photography as an art form. I believe it is potentially the best medium for explaining man to himself and to his fellow man.

I don’t care about making photography an art. I want to make good photographs. I’d like to know who first got it into his head that dreaminess and mist is an art. Take things as they are; take good photographs and the art will take care of itself.

Experimentation and Finding your Style

The precision of his (Harry Callahan) skill places his work beyond the tentative and the experimental stage. He is continually searching and exploring both himself and his surroundings. and in this exploration of the realm of places, people and things, contrasts and relationships, Callahan is no respecter of conventional technical formula or code. His delicate sense of pattern is an integral part of his photography and not a thing by itself.

There is only one optimist. He has been here since man has been on this earth, and that is man himself. If we hadn’t had such a magnificent optimism to carry us through all these things, we wouldn’t be here. We have survived it on our optimism.

If it were possible for any one person or group of persons to go through a photographic finishing plant’s work at the end of a day, you could probably pull out the most extraordinary photographic exhibition we’ve ever seen. On almost any subject. The trouble is to find the things.

To make good photographs, to express something, to contribute something to the world he lives in, and to contribute something to the art of photography besides imitations of the best photographers on the market today, that is basic training, the understanding of self.

It is an error common to many artists, [who] strive merely to avoid mistakes, when all our efforts should be to create positive and important work. Better positive and important with mistakes and failures than perfect mediocrity.

What’s your Favorite Edward Steichen Quote?

Have a favorite Edward Steichen quote from the list? Let us know in the comment section below.

Don’t forget to bookmark this page, or print it out, and refer to it next time you need some inspiration. Also, don’t forget to share it with others through the usual channels (social media, forums, websites, etc).

To see more of Steichen’s timeless photography, check out his biography and image archive on the MoMA website.

Looking for more words of wisdom from master photographers? Visit the quotes section of Photogpedia for more great photography quotes.

Related Quote Articles:

• Henri Cartier-Bresson Quotes
• Ansel Adams Quotes
• Julia Margaret Cameron Quotes
• The 100 Greatest Photography Quotes

The post 30 Timeless Edward Steichen Quotes to Advance your Photography appeared first on Photogpedia.

If you haven’t done so already, we recommend reading our Horst P. Horst master profile article to learn more about his remarkable fashion, portrait and commercial photography work.

Horst P Horst Quotes

I like taking photographs because I like life. And I like photographing people best of all because most of all I love humanity.

You should find these things yourself. You should never copy, I never look at other photographers work. You have to see it for yourself.

All my best photos have a little bit of mess.

To get this shot, it took two days. It was the idea that counted then, not the sort of nervous rush they work in today.

Noel Coward taught me how to relax. He told me I shouldn’t worry because the subjects themselves were so frightened by the camera that they hardly saw me. That really loosened me up. But you can hide behind the camera – Clare Luce showed me that. She had been drawing on a piece of paper during our session. Afterward, I asked her what she’d been doing – and she’d drawn a sketch of me. That made me feel very self-conscious.

I don’t think photography has anything remotely to do with the brain. It has to do with eye appeal.

Fashion is an expression of the times. Elegance is something else again.

I was told that no model was to be photographed with her feet more than 12 inches apart, standing or walking. A photograph that I took of a girl sitting on the floor had to be retaken ‘because no lady sits on the floor.

[On his iconic corset photo] I left the studio at 4:00 a.m., went back to the house, picked up my bags, and caught the 7:00 a.m. train to Le Harve to board the Normandy… For me, this photograph is the essence of that moment. While I was taking it, I was thinking of all that I was leaving behind.

I had never photographed a corset before. It wasn’t easy. The light in the photo is more complex than you think. It looks as though there is only one light source. But there were reflectors and extra spotlights as well. I don’t know how I did it. I couldn’t repeat it. It was created by emotion.

[On portraits] I don’t make up my mind before, however, when I photograph them and something’s happening then you have to catch it and understand it. Try and bring it out. I don’t think we should photograph somebody with a pre-conceived idea… then it’s not the person.

It’s not how many or what kinds of lights you use, but how they are placed.

What’s your Favorite Horst P Horst Quote?

Have a favorite Horst P Horst quote from the list? Let us know in the comment section below.

Don’t forget to bookmark this page, or print it out, and refer to it next time you need some inspiration. Also, don’t forget to share it with others through the usual channels (social media, forums, websites, etc).

If you would like to learn more about Horst’s photography, we recommend reading our Horst P. Horst master profile article. To see more of his remarkable fashion photography work, check out the image archive on the Horst P. Horst Foundation website.

Looking for more words of wisdom from master photographers? Check out the quotes section of Photogpedia for more great photography quotes.

More Quote Articles:

• Richard Avedon Quotes
• Irving Penn Quotes
• Herb Ritts Quotes
• Fashion Photography Quotes

The post Top 11 Inspiring Horst P. Horst Quotes appeared first on Photogpedia.