Martin Parr Quotes
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For those aspiring to make a living from travel photography, it's a sad fact that the boring shots are the shots that are going to make you money.
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I am away so much, so I rarely see live TV, but I use iPlayer to catch programmes.
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I always take photographs when I attend a funeral. Most people there know who I am and expect me to be there with my camera.
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I never think of photographs as being individual. Always as a group.
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Of course, New Brighton is very shabby, very rundown, but people still go there because it's the place where you take kids out on a Sunday.
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When I visited Vietnam for Oxfam, the thing that really struck me was how the local farmers had to prepare to evacuate or climb to their mezzanines with their valuable family possessions.
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In the '70s, in Britain, if you were going to do serious photography, you were obliged to work in black-and-white. Color was the palette of commercial photography and snapshot photography.
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The thing about tourism is that the reality of a place is quite different from the mythology of it.
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I am kept awake by the list of possibilities for shooting more photos and deciding what I must prioritise next.
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Filming is always a challenge because I'm not used to it. But I approach it head-on. I'm not technically brilliant, but it's the spirit that counts.
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I just go out and try to make sense of the world around me.
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Choosing sepia is all to do with trying to make the image look romantic and idealistic. It's sort of a soft version of propaganda.
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I pride myself in being an aficionado of the British seaside. Throughout my career, I have visited and worked in many of the famous British resorts, from Great Yarmouth to Largs.
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I have been photographing people dancing for 20 or 30 years now, and I think I will eventually do a book of dancing photos.
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When I am in London, all I do is mix with other people in the arts.
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The ability for us to laugh at ourselves is Britain's saving grace.
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I love curating, because I'm lucky and privileged that I have a platform and I can share my discoveries with other people.
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Part of the role of photography is to exaggerate, and that is an aspect that I have to puncture. I do that by showing the world as I really find it.
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One of the things I regret is that magazines now are so lifestyle-orientated that the opportunity to do bigger projects is gone. This is a serious misjudgment on the part of magazine editors.
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I like to keep in touch with younger photographers. It's important that a younger generation comes up and questions the assumptions made by old farts like me.
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My black-and-white work is more of a celebration, and the color work became more of a critique of society.
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My profile is bigger in Europe than it is in the U.K.
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When someone says to you, 'Oh, I don't take a good picture,' what they mean is they haven't come to terms with how they look. They take a fine picture, it's just that their image of how they think they look is not in touch with the reality.
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I photograph wealth.