Brandon Stanton Quotes
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It seems that everywhere I go, people want the same things - security, education, family. It's just that so many people have no avenues through which to obtain these things.
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I've got 50,000 Facebook fans inside of Iran, and Facebook is banned in Iran. I think the people who follow 'Humans of New York' the most after New York City is Tehran. I have a really special affection for the Persian people because they've really taken to my work.
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'Humans of New York' is basically somebody walking up to absolute strangers on the street every day and, within minutes, talking with them about very personal things. Some things they haven't even told their best friends or family members.
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I've always felt like an artistic person. I can't draw or paint or sculpt. I never really had technical skills, but I've always felt like I appreciate really beautiful things, and part of taking a good photograph is being able to recognize beauty.
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I am a huge fan of biographies. What I'm always looking for is a story. I want a story I have never heard from anyone else.
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Being a doctor, lawyer in war-torn countries isn't easy when the infrastructure isn't there. The money, the food and education is not always accessible to achieve those dreams.
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When I first started 'Humans of New York,' I was writing short stories. There were about 50 of them. And, you know, they were a great part of the site, but the photography just started growing so fast that I didn't have time to make them anymore.
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I don't want to interview people for the purpose of developing a world view and pushing that on people.
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I'm not even really attempting to brand myself outside of 'Humans of New York.' I think part of the reason for my success is that I've put my ego aside and said I'm not going to put all of my effort into trying to promote myself. I'm going to try to promote my work and am going to try to promote my project.
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Interviewing someone is a very proactive process and requires taking a lot of agency into your own hands to get past people's general normal self-preservation mode.
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I never know what kind of people I'll meet just by stopping to take a photo.
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I never buy plane tickets out of a country until I'm in the country, so I get on the ground, figure out what I need, where I'm going, how much time I need, and schedule as I go along.
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It's a very immersive and intense form of travel to walk around with an interpreter and stop random people on the street and ask them about their lives.
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It's such a different spectrum of tragedies when you talk to people in developing countries.
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'Humans of New York' wasn't the result of a fully finished idea that I thought of and then executed; it was an evolution. There were hundreds of tiny evolutions that came from me loving photography.
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Fortunately, I've done so many interviews that I've become very good at detecting when someone is giving a less-than-candid reply.
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I always say that my favorite people to interview are the people who are at the beginning and the ends of their lives because they have two alternate perspectives of the world, and neither of them are less profound.
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I've taken pictures in at least 14 countries, and nowhere have people told me 'no' more than New York City.
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The interviews have gotten much longer with 'Humans of New York.' When I was first starting, I was just photographing people. And then I went to just kind of including a quote or two. Now when I'm approaching somebody on the street, I'm spending about 30 to 45 minutes with them often.
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Everybody asks, 'What does 'Humans of New York' mean?' and I always say that I try to avoid putting any kind of message in the work even if it is a positive or optimistic message. The moment you do that, you're looking for certain people and words that fit into the world view you are trying to show, and it becomes preachy.
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Somebody's willingness to let me photograph them, and willingness to tell me a story, has nothing to do with the words I say. It all has to do with the energy I'm giving off, which hopefully is very genuine, very interested energy. It's just two people having a conversation in the street. I think that's where genuine content comes from.
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My interviews are very pointed. I'm an active participant; I will kindly interrupt people. But I've learned there is nothing people won't tell you if you ask in a compassionate and legitimately interested way.
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Whenever you get a large body of work like 'Humans of New York,' a natural pathway becomes to put it between two covers. I wanted this to be a very nice keepsake. A lot of work went into it, and a lot of fans are attached to it.
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I am interviewing people with a spirit of genuine interest and compassion, and therefore, the general tone of the site is one of genuine interest and compassion. The moment that culture changes, 'Humans of New York' is no longer viable.