The collection of photographs is a statement about the relationship of my camera and me.
Before each new setup, I chase everyone off the set in order to be alone and look through the camera. In that moment, the film seems quite easy. But then the others come in and everything becomes difficult.
The camera is a mirror with a memory, but it cannot think.
Obviously, we can see what was in front of the camera, but if a photograph is honestly made, it's a bit of a self-portrait. I think it's impossible for a photographer who is working honestly to keep this from happening.
I am always surprised when I watch the weather report on German television. First they show the map of Europe and then the camera moves to the right. Then comes Kiev, then Moscow and then everything stops. This seems to be the West's view of us - of a wild Russia that begins past Moscow, a place one prefers not to see. This is a big mistake. The West must pay closer attention.
The camera itself, the photograph itself, calls up death.
I think we've shot scenes from every angle directors can think of to make it look like different villages. I've directed a couple shows on that set and believe me, it's impossible not to duplicate some camera angles.
The camera is the eye of history.
The idea of working with Steven Spielberg was very attractive. He's such a master. He knows the language of the camera and of filmmaking, which gives him a great freedom.
Motion-picture studio floors used to be all wooden and not smooth at all. This was difficult when moving a camera around on a dolly.
I don't like working in front of a camera.
When you are a photographer, you work all the time, because your eye is the first camera.
I remember thinking, I want to work for the camera.
When I'm on my own with my camera, taking these pictures, it feels as if I am in a room of my own, a self-contained world.
With the camera, it's all or nothing. You either get what you're after at once, or what you do has to be worthless. I don't think the essence of photography has the hand in it so much. The essence is done very quietly with a flash of the mind, and with a machine. I think too that photography is editing, editing after the taking. After knowing what to take, you have to do the editing.
I think self-portraits are very difficult. I’ve always seen mine as straightforward, very stripped down, hair pulled back. No shirt. Whatever light happened to be available. I’d want it to be very graphic – about darkness and light. No one else should be there, but I’m scared to do it by myself. I’ve been thinking about it for a long time. The whole idea of a self-portrait is strange. I’m so strongly linked to how I see through the camera that to get to the other side of it would be difficult. It would be as if I were taking a photograph in the dark.
It's a lot easier to take pictures if you always have the camera with you.
I don't mind looking to the camera - it's people that throw me.
When you put a camera in front of me, I'm home.
And I also have a camera, a Web cam, and I have one at home, so I can hook up and talk to the girls, and they can see me while we're on the bus in the middle of nowhere.