Lynsey Addario Quotes
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If I'm doing a story on how a single mother copes in a refugee camp, I'll go to her tent; I'll follow her when she's working, see what her daily life is like, and try to pack that into one composition, with nice light, in one frame.
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As a photographer who is constantly in violent, bloody situations where the instinct is to turn away, I am always trying to figure out how to make people not turn away.
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I grew up in Connecticut, going in and out of New York City, and I worked in the city in the '90s. I was freelancing for the Associated Press, and I fell in love with New York.
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My job is to take the pictures, communicate a message, to bring those images to the greater public through whatever publication I'm working for. My job is really to be a messenger, and that's what I've been doing.
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One day I am at home, watching dramatic images of Iraqi Yazidis fleeing for their lives being aired nonstop on 24-hour news channels. Days later, I am there, staring at tens of thousands of displaced Iraqis and feeling a 35-millimeter frame cannot capture the scope of devastation and heartbreak before me.
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I started freelancing for the Associated Press. I had a great mentor there who sort of taught me everything.
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For a journalist who covers the Muslim world, we have responsibilities to be familiar with that culture and to know how to respond to that.
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Let's get one thing straight: I am not an adrenaline junkie. Just because you cover conflict doesn't mean you thrive on adrenaline. It means you have a purpose, and you feel it is very important for people back home to see what is happening on the front line, especially if we are sending American soldiers there.
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Nothing seemed more important to me than to make the world aware of the senseless death and starvation in South Sudan. I wanted people to see through the eyes of the suffering so my photos might motivate the international community to act.
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With each assignment, I weigh the looming possibility of being killed, and I chastise myself for allowing fear to hinder me. War photographers aren't supposed to get scared.
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I had first visited Kurdistan in 2003 before the invasion of Iraq, camping out in Erbil and Sulaimaniya while waiting for Saddam Hussein's fall.
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Americans are really lovely people - friendly, kind and willing to help you out.
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The possibility to mobilize the international community to act on human suffering is what drives me every day as a photojournalist.
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I interviewed dozens and dozens of African women who had endured more hardship and trauma than most Westerners even read about, and they ploughed on. I often openly cried during interviews, unable to process this violence and hatred towards women I was witnessing.
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As a Western woman in the Middle East, I am often put in a different category. I am sort of like the third sex. I am not treated like a man. I am not treated like a woman. I am just treated like a journalist. That is usually really helpful.
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I'm constantly struggling. You know, the stories that I feel like I could cover, do the work that I want to do and being a mother. That's really where my struggle is - and being a wife and having a life - and for me it's really hard to find that balance. I'm always struggling to find that balance.
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I've seen so many photographers rush to do books the minute they start shooting, but one great thing about photography is that the images don't go away, so the more I sit with these images, the more I learn which ones have had the most impact.
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I'm not very religious at all - I was raised Catholic, but probably haven't gone to church since my Holy Communion when I was about 6 or 7.
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If people really saw what was happening in Iraq and Afghanistan, then they might be marching in the streets to end wars. But you know, I think that no one ever sees because we're not allowed to see, and we're not allowed to publish what we do see. So it's quite difficult.
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As a war correspondent and a mother, I've learned to live in two different realities... but it's my choice. I choose to live in peace and witness war - to experience the worst in people but to remember the beauty.
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When I'm documenting, for example, a story on women in Afghanistan, I will do a huge amount of research and a lot of time on the ground just getting to know the women before I even start shooting.
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I had imposed unspeakable worry on my husband, Paul de Bendern, on more occasions than I could count.
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I do think my childhood is one of the fundamental reasons that I'm able to do my job. We were raised in this totally nonjudgmental family. We never knew who was going to walk in the front door. And as a journalist and a photographer, you walk into so many different scenes that you have to be open to everything.
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I think that more often than not, people underestimate me.