Stephanie Corneliussen Quotes

Because TV is mostly close up, it has to be fast. And because it has to be fast, you don't have time to explain completely, by a sequence shot, what's happening between people. So instead of experiencing what's happening, say, when a couple is dancing, dialogue is used to explain.

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.

Even the pictures I was doing at college - a little narrative based on a butterfly catcher, or a chimney sweep - the images were always telling stories. They were all scenarios and moods which I storyboarded and worked through - it's exactly what I do now.

If I could tell the story in words, I wouldn't need to lug around a camera.

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

The still image continues to have a ton of strength. An image taken out of context from one fraction of a second to the next can tell a story, and if photographers are looking to tell a certain story, they can curate those slices of time to their advantage.

I like when an image could be just one of several others which would create a story. That you can imagine who are those people or what would happen before, what's going to be next; I like when there's a past and a future that we can imagine when we see photos.

I have always believed that an artiste needs to respond to a story first. One has to feel it in order to live it.

Acting and singing are actually very similar because they're both telling a story.

I've been criticised for pretty, smiley photographs, but at least someone is happy! In my mind, I am always giving the image to the sitter.

My job as a portrait photographer is to seduce, amuse and entertain.

Opera tells stories through the pure emotion of music. An exhibition has to tell a story purely visually. I've tried to incorporate both of those things - pure emotion and being more visual - into my writing.

The painter constructs, the photographer discloses.

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.

It's about storytelling. The story is told through images. So with the cast, I had to make sure that the emotions were readable without sound... I know some great actors, if you turn off the sound, you don't really know what they're saying.

I like the idea of making big budget films with a heart. I like graphic novels more than comic books.

I have always believed that directing a film is like telling a story. You have to tell it well so that it is appreciated.

I always wanted to be a photographer. While I was at school, I got a lab-monkey holiday job in the darkrooms at the 'Independent.' What they taught me there was: you need to get the whole story in one frame.

I want to photograph what I see and put it in a dramatic context. I'm an actor and a writer, and I want to tell these stories and present these shapes, colors and movements as I see them, as I see them serve a narrative. As I see that narrative serve an audience. That's what I want to do.

You know, the camera is not meant just to show misery.

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.

Photography is a way of feeling, of touching, of loving. What you have caught on film is captured forever... it remembers little things, long after you have forgotten everything.

Animation had been done before, but stories were never told.

Whether it's music, loss of something, loneliness or friendship - if that emotion is heightened in some way and painted to fit in between the covers of 32 pages, that can become a picture book.

In the world of photography, you get to share a captured moment with other people.