Richard Avedon Quotes

He sleeps fastest who sleeps alone.

Fashion is where I make my living. I'm not knocking it; it's a pleasure to make a living that way. Then there's the deeper pleasure of doing my portraits.

I never wanted to be called an artist. I wanted to be called a photographer.

The pictures have a reality for me that the people don't. It is through the photographs that I know them.

How many pictures have you torn up because you hate them? What ends up in your scrapbook? The pictures where you look like a good guy and a good family man, and the children look adorable - and they're screaming the next minute. I've never seen a family album of screaming people.

There is no truth in photography. There is no truth about anyone's person.

Real people move, they bear with them the element of time. It is this fourth dimension of people that I try to capture in a photograph.

A photographic portrait is a picture of someone who knows he is being photographed, and what he does with this knowledge is as much a part of the photograph as what he's wearing or how he looks.

My portraits are more about me than they are about the people I photograph.

When I was a boy, my family took great care with our snapshots. We really planned them. We made compositions. We posed in front of expensive cars, homes, that werent ours. We borrowed dogs. Almost every family picture taken of us when I was young had a different borrowed dog in it.

It's in trying to direct the traffic between Artiface [sic] and Candor, without being run over, that I'm confronted with the questions about photography that matter most to me.

Faces are the ledgers of our experience.

Camera lies all the time. It's all it does is lie, because when you choose this moment instead of this moment, when you ... the moment you've made a choice, you're lying about something larger. 'Lying' is an ugly word. I don't mean lying. But any artist picks and chooses what they want to paint or write about or say. Photographers are the same.

Just advertising departments with legs and high heels.

You can't get at the thing itself, the real nature of the sitter, by stripping away the surface. You can only get beyond the surface by working with the surface. All that you can do is manipulate that surface-gesture, costume, expression-radically and correctly.

A portrait is not a likeness. The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion. There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is the truth.

Click! In other words, I'm in a very controlling position, and I can bring ... and I've already ... if the camera's on you, your face is very concentrated. You're listening. You don't know what I'm going to say next, and now you're smiling. All these things are the things I work with.

I always prefer to work in the studio. It isolates people from their environment. They become in a sense ... symbolic of themselves. I often feel that people come to me to be photographed as they would go to a doctor or a fortune teller - to find out how they are.

Marilyn Monroe gave more to the still camera than any actress, any woman I've ever photographed; infinitely more patient, more demanding of herself and more comfortable in front of the camera than away from it.

I can see myself as a very old man in a terrific wheelchair. Only, I won't be photographing the tree outside my window, the way Steichen did. I'll be photographing other old people.

If each photograph steals a bit of the soul, isn't it possible that I give up pieces of mine every time I take a picture?

I am always stimulated by people. Almost never by ideas.

I am, and forever will be, devastated by the gift of Audrey Hepburn before my camera. I cannot lift her to greater heights. She is already there. I can only record. I cannot interpret her. There is no going further than who she is. She has achieved in herself her ultimate portrait.

There's always been a separation between fashion and what I call my deeper work.

I've photographed just about everyone in the world. But what I hope to do is photograph people of accomplishment, not celebrity, and help define the difference once again.

I don't really remember the day when I stood behind my camera with Henry Kissinger on the other side. I am sure he doesn't remember it either. But this photograph is here now to prove that no amount of kindness on my part could make this photograph mean exactly what he.. or even I.. wanted it to mean. It's a reminder of the wonder and terror that is a photograph.

My photographs don't go below the surface. They don't go below anything. They're readings of the surface. I have great faith in surfaces. A good one is full of clues. But whenever I become absorbed in the beauty of a face, in the excellence of a single feature, I feel I've lost what's really there been seduced by someone else's standard of beauty or by the sitter's own idea of the best in him. That's not usually the best. So each sitting becomes a contest.

Sometimes I think all my pictures are just pictures of me.

Start with a style and you are in chains, start with an idea and you are free.

One man's fantasy is another man's job.

I've worked out of a series of no's. No to exquisite light, no to apparent compositions, no to the seduction of poses or narrative. And all these no's force me to the yes. I have a white background. I have the person I'm interested in and the thing that happens between us.

I hate cameras. They interfere, they're always in the way. I wish: if I could work with my eyes alone.

There was no such person as Marilyn Monroe. Marilyn Monroe was an invention of hers. A genius invention that she created, like an author creates a character. She understood photography, and she also understood what makes a great photograph. She related to it as if she were giving a performance. She gave more to the still camera than any actress-any woman- I've ever photographed.

I believe that you've got to love your work so much that it is all you want to do.

A portrait photographer depends upon another person to complete his picture. The subject imagined, which in a sense is me, must be discovered in someone else willing to take part in a fiction he cannot possibly know about.

For hours she danced and sang and flirted and did this thing that's-she did Marilyn Monroe. And then there was the inevitable drop. And when the night was over and the white wine was over and the dancing was over, she sat in the corner like a child, with everything gone. I saw her sitting quietly without expression on her face, and I walked towards her but I wouldn't photograph her without her knowledge of it. And as I came with the camera, I saw that she was not saying no.

We all perform. It's what we do for each other all the time, deliberately or unintionally. It's a way of telling about ourselves in the hope of being recognized as what we'd like to be.
PERFORMANCE

My parents put the New Yorker in my crib. I saw Vogue and Vanity Fair around the house before I could read.

When you pose for a photograph, it's behind a smile that isn't yours. You are angry and hungry and alive. What I value in you is that intensity. I want to make portraits as intense as people.

Anything is an art if you do it at the level of an art.