Daria Werbowy Quotes

I love photography and I love the art of photography. So when I'm working with high-level art photographers, I give them artistic freedom because I want that for myself when it's my turn to do my work and I never try and control it or say I'll only do this or I want it like that.

I always feel when you work with an artist and whenever I work with a really good photographer, I try to give him or her their own artistic freedom because that's the way you get the best work or at least the most interesting work.

When I am having my picture taken, I channel Beyonce. In the studio, my inspiration is Adele.

I happen to take photographs, and they happen to be used for a lot of things, but they're not really made to order. They're paid for, but they're not made for order. I've never really done real commercial work.

I think the way kids create is so inspiring. They're drawing a picture? They love the picture they drew; they're not tortured about it.

Photography is still a very new medium and everything must be tried and dare.

All that's left now is purely poetic work, putting more life into individual places, as I've made so sure of the fundamental mood and dimension of expression that it won't leave me groping around in uncertainty any more.

I've said from day one that I've got no problem with nudity. I've done it throughout my career.

When I have a camera in my hand, I know no fear.

I think that, to be an artist, you have to have a big enough ego to believe that people out in the world want to see what you think is a good idea. And if you don't have that sense of ego, then the minute that idea goes into the world, self-doubt kicks in.

I like the gritty parts of fashion, the design, the studio, the pictures.

Then I moved down to the Bowery to this building where Debbie Harry lived. It was there that I started combining some clothes for her and continued doing the art and photography.

I made a decision when I started writing 'All is Song' to take the compliments I had for 'The Wilderness' and try to be confident and not overwhelmed by it.

I trust my hand. If I go into a space with a roll of paper, I can make a work, some kind of work, and feel pretty satisfied.

It's interesting that instead of having to get tighter and more restricted for a collaboration, strangely enough, from the beginning, we've actually been more confident that we could handle this.

I work best in rhyme and meter. I was most confident of myself in that way.

Being behind the camera is where I feel comfortable. I've found something that I feel I, as 'Michael,' can be as confident in as 'Johnny' was on the stage. It's great being part of the creative process. You're right at the start of an idea, and you get to see it all the way through till the end.

As an artist, I understand that, and I value the creative input of the artist.

Everyone thinks these are self-portraits but they aren't meant to be. I just use myself as a model because I know I can push myself to extremes, make each shot as ugly or goofy or silly as possible.

I'm very, very open to experimenting with different people and trying to find different methods of writing and making music.

When I'm playing, I'm never through. It's unfinished. I like to find a place to leave for someone else to finish it. That's where the high comes in.

It's very important when you in the studio to be with a confident creative.

As far as creation goes, you just really have to not overthink and just create and be confident. If you think it's tight, then the world is going to think it's tight.

On 'Cardamom,' I had pretty much total control on all of the musical stuff, but I asked a friend of mine to take the picture for the cover, and I asked a friend of mine to draw the back.

Art is the easiest thing in my life, and that's ironic. It doesn't mean I've worked little on it, but it's the only thing I never had to... I have no fear. I could take risks.