Eight Girls Taking Pictures Quotes

“While she was in transit, being unattached was exhilarating, but the moment she stopped, so did the high.”
― Whitney Otto, Eight Girls Taking Pictures

“Berlin was charismatic in the roguish way of a love... It was a lover who was a little dangerous in ways that didn't always show, keeping you a bit on edge, a bit in love and endlessly forgiving because he made her feel that she was exactly where she was meant to be... Berlin made you like who you were when you were there, as if everything worth being a part of in the world - all those modern ideas about sex and art and women; all that possibility - was right there, in its dark, beating heart.”
― Whitney Otto, Eight Girls Taking Pictures

“I never think anyone in love is foolish. We do the best we can.”
― Whitney Otto, Eight Girls Taking Pictures

“She remembered her fingers threaded through his hair and his kisses in places that made her long for him years later.”
― Whitney Otto, Eight Girls Taking Pictures

“Julius explained that the palace rooms where they stood were called Wunderkammers, or wonder rooms. Souvenirs of nature, of travels across continents and seas; jewels and skulls. A show of wealth, intellect, power.

The first room had rose-colored glass walls, with rubies and garnets and bloodred drapes of damask. Bowls of blush quartz; semiprecious stone roses running the spectrum of red down to pink, a hard, glittering garden. The vaulted ceiling, a feature of all the ten rooms Julius and Cymbeline visited, was a trompe l'oeil of a rosy sky at down, golden light edging the morning clouds.

The next room was of sapphire and sea and sky; lapis lazuli, turquoise and gold and silver. A silver mermaid lounged on the edge of a lapis lazuli bowl fashioned in the shape of an ocean. Venus stood aloft on the waves draped in pearls. There were gold fish and diamond fish and faceted sterling silver starfish. Silvered mirrors edged in silvered mirror. There were opals and aquamarines and tanzanite and amethyst. Seaweed bloomed in shades of blue-green marble. The ceiling was a dome of endless, pale blue.

A jungle room of mica and marble followed, with its rain forest of cats made from tiger's-eye, yellow topaz birds, tortoiseshell giraffes with stubby horns of spun gold. Carved clouds of smoky quartz hovered over a herd of obsidian and ivory zebras. Javelinas of spotted pony hide charged tiny, life-sized dik-diks with velvet hides, and dazzling diamond antlers mingled with miniature stuffed sable minks. Agate columns painted a medley of dark greens were strung with faceted ropes of green gold.

A room of ivory: bone, teeth, skulls, and velvet.

A room crowded with columns all sheathed in mirrors, reflecting world maps and globes and atlases inlaid with silver, platinum, and white gold; the rubies and diamonds that were sometimes set to mark the location of a city or a town of conquest resembled blood and tears.

A room dominated by a fireplace large enough to hold several people, upholstered in velvets and silks the colors of flame. Snakes of gold with orange sapphire and yellow topaz eyes coiled around the room's columns.

Statues of smiling black men in turbans offering trays of every gem imaginable-emerald, sapphire, ruby, topaz, diamond-stood at the entrance to a room upholstered in pistachio velvet, accented with malachite, called the Green Vault. Peridot wood nymphs attended to a Diana carved from a single pure crystal of quartz studded with tiny tourmalines. Jade tables, and jade lanterns. The royal jewels, blinding in their sparkling excess: crowns, tiaras, coronets, diadems, heavy ceremonial necklaces, rings, and bracelets that could span a forearm, surrounding the world's largest and most perfect green diamond.

Above it all was a night sky of painted stars, with inlaid cut crystal set in a serious of constellations.”
― Whitney Otto, Eight Girls Taking Pictures

“I once started out
to walk around the world
but ended up with you.

Thank God.”
― Whitney Otto, Eight Girls Taking Pictures

“...but she never knew what it was like to walk away from the thing she had most wanted. Years later she would say, "Photography allowed me to make the world and be in the world.”
― Whitney Otto, Eight Girls Taking Pictures

“It was hard not to feel resentment that men weren't forced into these choices. Some days she felt that she would spend all her time trying to forget her life before children because she loved them too much to be reminded of the heat of Rome in the summer and a beautiful girl who turned heads as she walked down an Italian strada.”
― Whitney Otto, Eight Girls Taking Pictures

“Later, Jenny would say she seldom knew what she would take a picture of when she picked up a camera, that she only knew once she peered through the viewfinder, as if the photograph had finally found her.”
― Whitney Otto, Eight Girls Taking Pictures

“If the photographer isn't going to pay attention to the picture he is making, that if he thinks the camera is just a machine and not an avenue of expression, then he has no business asking anyone for anything, let alone their time and interest. Don't show the world, he said, invent the world.”
― Whitney Otto, Eight Girls Taking Pictures

“Amadora was never far from her understanding of women, glamour, or the fine line between elegant and camp, vulgar and vibrant, life and dreams. ... Color, she believed, was feminine. She said that women were masters of color, evidenced in changing their hair color, using eye shadow, mascara, powder, rouge, lipstick. You could see it in their jewelry- silvers and golds, gems, stones, pearls of every hue. It was in their clothing, from what they slept in to what they danced in. Their shoes. Their purses. Ribbons, barrettes, clips, and tiaras. Veils. All this color to enhance their sex appeal, while men, she felt, were ill-equipped to handle color with the same ease.”
― Whitney Otto, Eight Girls Taking Pictures

“What no one tells you about having children is that it isn't tbe physical demand thry make in your life that affects your art, it's the emotional space they fill, crowding out your art. So even when you have the time to work, you're still mentally occupied.”
― Whitney Otto, Eight Girls Taking Pictures

“Among the things she said: "Women seem to possess all the natural gifts essential to a good portraitist ... such as personality, patience and intuition. The sitter ought to be the predominating factor in a successful portrait. Men portraitist are apt to forget this; they are inclined to lose the sitter in a maze of technique luxuriating in the cleverness and beauty of their own medium.”
― Whitney Otto, Eight Girls Taking Pictures

“Money buys things that people with money never even realize they’ve bought, like time and freedom. -- Whitney Otto”
― Whitney Otto, Eight Girls Taking Pictures

“She believed, as others did, that a camera was good for more than recording the world. A photograph wasn't a response to something; it was something.”
― Whitney Otto, Eight Girls Taking Pictures

“The images enhanced, then negated each other. Nothing was fixed. Nothing is any one thing really, and isn't that the beauty of it all?”
― Whitney Otto, Eight Girls Taking Pictures

“If I photograph you in the shadows, you become mysterious, perhaps unknowable. If I light you from above, so your eyelashes throw shadows on your cheeks, you could be a Hollywood film star.”
― Whitney Otto, Eight Girls Taking Pictures

“But any picture could deal with the problem of light. The problem with this picture is greater than that of reflective surfaces - it's one of death. You invite a profound theme into your work when you choose cut flowers. You are talking about mortality and time moving forward. You are saying that everything, everything we see and experience and love happens uniquely and happens only once. When you take a picture of a flower in a glass you are, paradoxically, capturing evanescence. You are also showing the indifference of Nature. There is no mourning in a flower photograph, only a shrugging of the shoulders.”
― Whitney Otto, Eight Girls Taking Pictures