Sebastiao Salgado Quotes
So many times I've photographed stories that show the degradation of the planet. I had one idea to go and photograph the factories that were polluting, and to see all the deposits of garbage. But, in the end, I thought the only way to give us an incentive, to bring hope, is to show the pictures of the pristine planet - to see the innocence.
Quotes to Explore
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To vice, innocence must always seem only a superior kind of chicanery.
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Even today I work with Niall O'Brien, who is far more technically astute than I am, but I still have the clearest idea of every detail I want in my photograph.
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No one can live under degradation.
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I was invited to photograph Hollywood. They asked me what I would like to photograph. I said, Ugly men.
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I had no idea that he was going to write that, but I've always believed that insecurity was what would keep you always in your innocence, no matter what the business did.
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Mostly, I worked so quickly, I didn't see the details of a photograph until it was printed.
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In every American there is an air of incorrigible innocence, which seems to conceal a diabolical cunning.
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Jesse Jackson, when I met him, he had an innocence about him which is still very much a part of him today.
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I hate having my photograph taken.
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To the former child migrants, who came to Australia from a home far away, led to believe this land would be a new beginning, when only to find it was not a beginning, but an end, an end of innocence - we apologise and we are sorry. To the mothers who lost the maternal right to love and care for their child - we apologise, and we are sorry.
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The physical thing of having a man following you around all day trying to take your photograph - it's eerie. There is a pure physical response. If you go up and kick a dog, it will bite you. But with photographers, you can't do that.
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The same camera that photographs a murder scene can photograph a beautiful society affair at a big hotel.
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In the end, maybe the correct language would be how the fact of putting four edges around a collection of information or facts transforms it. A photograph is not what was photographed, it's something else.
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I said the photograph isn't what was photographed, it's something else. It's about transformation. And that's what it is.
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There is no special way a photograph should look.
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For me anyway when a photograph is interesting, it's interesting because of the kind of photographic problem it states - which has to do with the contest between content and form.
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I'm a good craftsman and I can have this particular intention: let's say, I want a photograph that's going to push a certain button in an audience, to make them laugh or love, feel warm or hate or what - I know how to do this.
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It's not your client's obligation, or your obligation, to prove your client's innocence. It is the prosecution's obligation to - to prove you're client's guilt.
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I’ve always assumed that the abstract qualities of [my] photographs are obvious. For instance, I can turn them upside down and they’re still interesting to me as pictures. If you turn a picture that’s not well organized upside down, it won’t work.
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The business of making a photograph may be said in simple terms to consist of three elements: the objective world (whose permanent condition is change and disorder), the sheet of paper on which the picture will be realized, and the experience which brings them together.
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We are the only people on Earth asked to guarantee the security of our occupier...while Israel is the only country that calls for defense from its victims.
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So many times I've photographed stories that show the degradation of the planet. I had one idea to go and photograph the factories that were polluting, and to see all the deposits of garbage. But, in the end, I thought the only way to give us an incentive, to bring hope, is to show the pictures of the pristine planet - to see the innocence.
