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I think I was driven to paint portraits to commit images of friends and family to memory. I have face blindness, and once a face is flattened out, I can remember it better.
You know, one of my - one of my best and, I think, most enlightening moments was when I was contacted by Michael Jackson. And he requested that I paint his portrait.
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.
My favorite books have a personality and complexion as distinctly drawn as if the author's portrait were framed into the paragraphs and smiled upon me as I read his illustrated pages.
There is a myth that the portrait photographer is supposed to make the subject relax, and that's the real person. But I'm interested in whatever is going on. And I'm not that comfortable myself.
It is, indeed, only in old age that intellectual men attain their sublime expression, whilst portraits of them in their youth show only the first traces of it.
My days are kind of controlled by my projects, so sometimes they're album covers. Sometimes they're commission portrait shoots. Sometimes they are editorial, so it kind of - I don't dictate it.
You shouldn't need 60 full minutes to create a portrait that an audience doesn't forget. You should be able to make an impression that's lasting and resonant with one scene.
Improvisational things about picture-making... learned from working with the small camera early on have served me well in being able to think quickly when making [portraits].
Geography is crucial for my work. I went to Antarctica and took a studio to several of the main ice fields to make field recordings of ice to create a symphony - acoustic portraits of ice.
I've had photographs taken for portraits because I very much prefer working from the photographs than from models... I couldn't attempt to do a portrait from photographs of somebody I didn't know.
Many intelligent people, when about to write . . . , force on their minds a certain notion about style, just as they screw up their faces when they sit for their portraits.
Satan was a blunderer ... who made a stupendous failure. If he had succeeded, we should all have been worshipping him, and his portrait would have been more flattering.
When you are doing portraits, you have that intimacy with someone for a few minutes. For a really good portrait, you don't take the portrait - it's given.
I feel like vocals are to music what portraits are to painting. They're the humanity. Landscapes are good and fine, but at the end of the day everyone loves the Mona Lisa.
Oh, you ask me, what is the greatest torture of a person who does portraits for a living? I could fill several volumes with nice nasty stories. I don't know.