Carol Friedman quotes:

Everyone hates their picture being taken and they're nervous and they're bringing all of that. When I meet with them they realize it is a collaboration and they look forward to coming back.

I think my most favorite subject was Lena Horne, because she embodies soul and grace and elegance and 'street'. She embodies everything. And beauty â?? great beauty.

Many of the jazz musicians whom are no longer here. You don't realize that it's history when it is happening and then time passes and you look at a picture and you say "Wow, there is history attached to that."

Giving someone their style or bumping up their sense of style to be a better version of what it is, is part of the fun of what I do, and I actually approached Al Sharpton. They didn't come to me.

There are certain people that you don't have to even work at extracting their inner life. It is just there and they're happy to share it with you.

You know a photo session is really a dance and making sure that they're comfortable and for me it's the music, the music, the music. That is everything.

I do select a soundtrack for each of my subjects and again my assistants you know they make fun of me because that is more important to me than the lighting, which I just do in a minute right before, but I spend a long time on the soundtracks.

It's a wonderful way to get at who someone is through their own love of music and going right at their subconsciousness if you will. You don't play girl singers for girl singers. You know, there's certain things. You do play Ellington for Bobby McFerrin.

When people are described as difficult and have a reputation as difficult it's 99% of the time because they've been disappointed over and over again by people who don't really know what to do for them, and I know I'm going to make them happy and I can't wait to work with them.

I think mentoring is essential in life, both being a mentor to someone and being mentored, and I think that when you are mentored it inspires a generosity in you to mentor others and that I know is what happened with me, so for instance, the people that come through my studio to work for me, it's not good enough for me to just give them a paycheck.

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.

I can't tell you how many reshoots I've done from, you know, famous photographers who really love just to shoot models and failed at shooting a Patti Labelle or someone like that because Patti Labelle didn't turn them on, so you have to shoot what you care about.

I think that people have to just go with their gut and follow their passion if they're photographers.

You know I don't care if it's you know an intern or a full-time employee. I want to help them arrive at who they are or who they want to be in the world and that is one of the questions I ask them when I meet them. You know, who do they want to be.

When people warn me about someone - the label head or the publishing head - that somebody is difficult, I'm in heaven.

I don't photograph anyone if I can't meet with them first because if I don't do that, then they're just going to the dentist and they're filled with fear. They don't know who I am.

I think that people get into trouble when they photograph something that they... that is not in their world. It's like when they say "write what you know."

This whole business of all these lenses is ridiculous. You know, it's like you have to capture your picture. You have to create it. You have to see it. You have to seize it and you have to move in to get it, so those lenses are just an escape of some sort or a shield.

I guess I'm half traditionalist, half modern girl and I just never... I love the digital world and I love electronica and after I shoot everything is digital, but I just... I don't know.

I love my cameras. I love contact sheets. I love the visceral thing of film and I'm not positive that I can replicate my lighting digitally. My assistants tell me I can, but, just stubborn I guess.

I kind of - you learn it, you master it, and then you make sure that it just disappears. You know, like if I could have invisible lights, I would, and invisible cameras. I'm just really trying to get at my subject and I respect the technical aspect, but it is not anything that I think about at this point.

For me there's several components to picture-taking and it starts with my goals as an artist. It's capturing I guess the inner life of my subject and then it is giving them their idealized version of themselves.

We all look in the mirror and see us a little blonder or a little thinner or a little younger, whatever that ideal might be and most of the people that I'm photographing are selling something, you know whether they're on the front of an album cover or a magazine or they're a corporate person ready to switch companies or a doctor selling a skincare line... so I want to help them achieve that.

A lot of the people that I photograph are master musicians themselves, whether they're singers or great jazz players and it's kind of fun to figure out who they came up with and who they emulated or who they idolized actually.

So sometimes it is an outright manipulation like that, but most of the time I'm just, I'm creating a mood that is a place of comfort for the person and a way for our dialogue to be more fluid.