Capturing Emotion Quotes

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

Photography is a small voice, at best, but sometimes one photograph, or a group of them, can lure our sense of awareness.

I like photographing the people I love, the people I admire, the famous, and especially the infamous. My last infamous subject was the extreme right wing French politician Jean-Marie Le Pen.

What is film-making about if not romance?

To me, photography is an art of observation. It's about finding something interesting in an ordinary place... I've found it has little to do with the things you see and everything to do with the way you see them.

There's a lot of different things that make me want to take photos. A lot of it is, for a long time I've been obsessed with the thought of time travel with my camera.

Life is not significant details, illuminated by a flash, fixed forever. Photographs are.

The role of a writer is not to say what we all can say, but what we are unable to say.

I've spent a lot of time in India. When I was a young cinematographer, I was completely enthralled by the color, the movement, the sounds. But photographically, it was very hard to capture it; photographs rarely did it justice.

Most photographs, to me, are description, but they lack insight.

My greatest joy comes from creativity: from feeling that I have been able to identify a certain aspect of human nature and crystallise a phenomenon in words.

I admired the work of photographers like Beaton, Penn, and Avedon as much as I respected the grittier photographers such as Robert Frank. But in the same way that I had to find my own way of reportage, I had to find my own form of glamour.

Poetry is a way of taking life by the throat.

It was not until I was in my forties, in the fifth decade of my life, that the sense of place, the spirit of place, became of paramount importance to me. It was then that I began my travels, that I discovered, through photography, the quality of light, and that I gradually became able to paint the mood of place.

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.

My strength is looking for composition and light, and I think those things come in the quieter times of war or photographing people affected on the margins of war - civilians, refugees; that is where I really excel.

You do your work as a photographer and everything becomes past. Words are more like thoughts; the photographer's picture is always surrounded by a kind of romantic glamor - no matter what you do, and how you twist it.

Photography is truth. The cinema is truth twenty-four times per second.

I think the greatest photographers are the amateur photographers who do it because they love it. Arnold Newman is a good example; he is a consummate professional, but he's also an 'amateur' in the pure sense of the word.

I see my work behind the camera as the actualization of a poem. I like to linger on images, conveying things through stillness.

Eventually, when I got the 'Meadowland' script, I saw something in it that made me think I could make something special out of it, something that could work with my style. Emotionally, I connected to it. I thought, 'If I feel this way just imagining it, maybe we can make that happen on screen and make people feel something when they watch it.'

Ultimately, if I'm really moved by something, it's going to go on the record and that's that.

I think photographs should be provocative and not tell you what you already know. It takes no great powers or magic to reproduce somebody's face in a photograph. The magic is in seeing people in new ways.

You don't necessarily need a script or actors to tell a compelling tale. Finding a person at a key moment in his life and rendering the truth as you see it - that's the truest form of drama.

In poetry everything which must be said is almost impossible to say well.