When you start out, you're not really aware. I didn't have a sense of photographic history.
If I knew how to take a good photograph, I'd do it every time.
The things that are close to you are the things you can photograph the best.
Photographier: c'est mettre sur la meme ligne de mire la tete, l'oeil et le coeur.
The only thing that gets in the way of a really good photograph, is the camera
I compose the frame literally with the camera. Unless it makes a story point.
When I was a student, if you accidentally wrote a triad in a piece of yours, it was just sort of like you were breaking the law! You just couldn't do it. And that just meant you were a bad composer.
If it sounds like writing, I rewrite it. Or, if proper usage gets in the way, it may have to go. I can't allow what we learned in English composition to disrupt the sound and rhythm of the narrative.
Sometimes I have taken photographs and just felt so excited that I could barely hold the camera steady, and the photo was boring.
I love playing in Fantomas, which is very strict in terms of composition.
I don't like drawing characters facing right. If I tried to do that at a book signing, I'd have to pencil it first.
Photography is my passion.
I don't look at other photographs much at all. I don't know why. I study my own a lot.
Is giving in to the photographer's presumably natural impulse to compose and light well sometimes okay and not okay other times?
Photography has been a passion of mine since I was 15.
When subject matter is forced to fit into preconceived patterns, there can be no freshness of vision. Following rules of composition can only lead to a tedious repetition of pictorial cliches.
My only interest in photographing is photography.
It's the easiest thing in the world to do that, to make successful photographs. It's a bore.
It's very easy to make successful photographs - it's very easy.
Never put more than two waves in a picture; it's fussy.
Everything seems really simple on paper until you take a camera out of the box.
When I was out in Georgia doing photographs, I found myself trying to undo my own sense of composition. I'd think, 'Why do I want to take it like this? Is it because I want to take a beautiful picture?' It's quite hard to try and undo it.
I have asked students at the beginning of their careers, what things of that sort might haunt them – what things they must photograph, things they have to try to shoot even before they master the intricacies of making dye transfer prints.
I enjoy photographing. It's always interesting, so I can't say one thing is more fun than another. Everything has it's own difficulties.
