Jill Greenberg Quotes

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.

You always want to come back with an image that's interesting visually, and you hope to get something from the person you photograph that's different than other images you know of these people.

With modelling, if you want to be good at it, you try to tell a story in a photo and give a person a sense of feeling.

Obviously I am a photographer and I believe in my medium: I do think that powerful photographs can force change. It doesn't take long to look and be engaged in a strong image whereas, with a story, you have to actually sit down and pause and be involved in it.

I'm so drawn to photography because you can convey a complex story in a single frame.

I think that's the strength of photography - to decide the decisive moment, to click in the moment to come up with a picture that never comes back again.

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.

I became obsessed with the storytelling of photography and going on little adventures.

I think you reveal yourself by what you choose to photograph, but I prefer photographs that tell more about the subject. There's nothing much interesting to tell about me; what's interesting is the person I'm photographing, and that's what I try to show. [...] I think each photographer has a point of view and a way of looking at the world... that has to do with your subject matter and how you choose to present it. What's interesting is letting people tell you about themselves in the picture.

Sometimes I think I prefer the storyteller in [Roman Vishniac] to the photographer. But aren't they one and the same?

I loved to press the shutter, to freeze time, to turn little slices of life into rectangle rife with metaphor.

It is a great honor for me to be compared to Henri Cartier-BressonBut I believe there is a very big difference in the way we put ourselves inside the stories we photograph. He always strove for the decisive moment as being the most important. I always work for a group of pictures, to tell a story. If you ask which picture in a story I like most, it is impossible for me to tell you this. I don't work for an individual picture. If I must select one individual picture for a client, it is very difficult for me.

I love being able to tell a story visually. It's something I love about making commercials, where you put a magnifying glass over the mundane and make it feel extraordinary.

To catch a piece of life on camera and make it come alive, add layers to it and deliver a product that is wholesome is really exciting to me.

When I'm on an adventure, I live with a camera in my hand, and that's what I try to give to the readers inside the space that gives us every chapter of the story.

Everything I choose to photograph, I think is beautiful.

One of my favorite photographers is Ruvan Wijesooriya, who takes most of the LCD photos. His work is incredibly colloquial and raw.

Professional cinema image-taking should integrate, serve, interest, and enhance the story. I judge cinematography not just for a story well told but for what the story is.

My inspiration has always been photography's ability to stop time and reveal what the naked eye cannot see.

Great visual effects serve story and character and in doing so, are, by their very definition, invisible.

We're really interested in more visual storytelling, figuring out a way to blend our level of observation with a bigger visual scope.

When you have great performers and have set your movie in the right direction, it's a beautiful privilege to let the camera watch the action unfold without spoken words.

Cinema is a visual medium one has to communicate through visuals, and therefore, dialogues should be less.

If you're a photographer, you end up being the raw creative force that allows other people to see what kind of narrative you want to be giving or what kind of art that you want people to see.

When I went to Jamia, I thought I wanted to be a cinematographer or photographer because I liked telling stories in pictures, but my teachers explained that if you want to tell your own stories then that is what a director does.