Lynsey Addario Quotes
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You have to believe 100 percent in what you're doing, that some picture or some thing we do is going to change the world in some tiny, minute way.
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It's very hard to turn your back once you're aware of what's going on, and you're aware of the injustices, and you're aware of the civilian casualties. It's much easier if you have no idea and you've never seen it.
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For me, it's more about being there, bearing witness to history, bearing witness to what's happening, what our country, the position our country is taking overseas. I want policy-makers to see the fruits of their decisions, basically, and to try and influence foreign policy.
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The truth is, the difference between a studio photographer and a photojournalist is the same as the difference between a political cartoonist and an abstract painter; the only thing the two have in common is the blank page. The jobs entail different talents and different desires.
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I've rarely seen portrayals of photojournalists that seem accurate.
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Don't expect things to happen fast. Be empathetic with the people you are photographing. Don't be concerned about money.
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It seems like, yeah, of course - I always think my work is important, or I wouldn't risk my life for it.
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I try not to get caught up in how our society is so inundated with images, and stay very focused on the work that I'm doing.
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Becoming a mother hasn't necessarily changed how I shoot, but it certainly has made me more sensitive, and it certainly makes it much harder for me to photograph dying children.
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I always knew my death would be a possible consequence of the work I do. But for me it was a price I was willing to pay because this is what I believed in.
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Since Sept. 11, many of the wars of our generation are in the Muslim world. So as a woman, I have access to 50 percent of the population that my male colleagues don't.
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I generally don't follow domestic news that much aside from how it relates to the stories I'm covering abroad, like what Americans think of the War in Afghanistan.
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You have two options when you approach a hostile checkpoint in a war zone, and each is a gamble. The first is to stop and identify yourself as a journalist and hope that you are respected as a neutral observer. The second is to blow past the checkpoint and hope the soldiers guarding it don't open fire on you.
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The fact is that trauma and risk taking hadn't become scarier over the years; it had become more normal.