Photographer Quotes
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I didn't want to be a woman photographer. That would limit me. I wanted to be a photographer who was a woman, with all the world open to my camera.
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I started out as a fashion photographer. One cannot say that I was successful but there was enough work to keep me busy. I collaborated with Harper's Bazaar and other magazines. I was constantly aware that those who hired me would have preferred to work with a star such as Avedon. But it didn't matter. I had work and I made a living. At the same time, I took my own photographs. Strangely enough, I knew exactly what I wanted and what I liked.
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Traditional photojournalists arrive with an idea of what they are going to produce or what the editor wants. I approach a subject very much as a street photographer and a wanderer, without preconceptions. I try to leave it extremely intuitive and exploratory.
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I had this notion of what I called a democratic way of looking around, that nothing was more or less important.
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What is right? Simply put, it is any assignment in which the photographer has a significant spiritual stake...spiritually driven work constitutes the core of a photographer's contribution to culture.
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I'm kind of a twisted social documentary photographer.
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You know, the Chinese don't like to be photographed because they believe that a part of their life is being taken away by the photographer. And in a way, they're right. The photographer is trying to get the prettiest moment of a life in his camera.
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I do what I feel, that's all. I am an ordinary photographer working for his own pleasure. That's all I've ever done.
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If the photographer is interested in the people in front of his lens, and if he is compassionate, it's already a lot. The instrument is not the camera but the photographer.
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There is an urgent need to examine old opinions and look at things from a new viewpoint. There must be an increase in the joy one takes in an object, and the photographer should become fully conscious of the splendid fidelity of reproduction made possible by his technique. Nature, after all, is not so poor that she requires constant improvement.
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A photographer is like a cod, which produces a million eggs in order that one may reach maturity.
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Well, I liked it - that was the main thing. I liked it, but I didn't think of it in terms of a career. I didn't really know; I didn't really think about it. One thing just led to another until finally I quit my job as a salesman and found myself working as a photographer.
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Photographers can either look out the window at the world or they can look in the mirror.
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The goal for the photographer is be visually articulate.
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[Robert] Capa: He was a good friend and a great and very brave photographer. It is bad luck for everybody that the percentages caught up with him. It is especially bad for Capa. (On Capa's death in Vietnam, May, 27, 1954)
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What you need to be a good photographer is an overwhelming curiosity and a good digestion.
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In the spirit of Vivian Maier, who worked unaided by any publication or commercial shooting, I set up the Emerging Photographer Fund
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The most dangerous thing I've ever encountered was a run-in with Boko Haram around 2007 in a small town in Nigeria. I got caught along with the photographer I was working with, the same one I worked with on the Afghanistan book, Seamus Murphy. We were caught in an attack by a mob after Friday prayers. And the level of violence was so extreme. It was more violent than any other mob violence I have ever seen.
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Even though photographers are only shooting the outside, beauty is more about who you are as a person - the life you lead - not your facade.
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Basically I'm always looking for things. Any good photographer should always be looking for something, you know.
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The camera only facilitates the taking. The photographer must do the giving in order to transform and transcend ordinary reality. The problem is to transform without deforming. He must gain intensity in form and content by bringing a subjective order into an objective chaos.
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The Latin American photographer has the possibility, and the means, for naming the things of our world, for demonstrating that there is another kind of beauty, that the faces of the First World are not the only ones. These Indian, black, plundered white and mestizo faces are the first element defining the demographic content of our photography.
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... the photographer is a thief who chooses what he steals (which, at this stage of the crisis, is a luxury) and does not democratize the image, that is to say, the photographer selects the pictures, a privilege which ought to be granted to the person being photographed.
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...I don't see myself as a documentary photographer. I am more drawn to the image itself, rather than to the description of a scene. And, anyway, every image only halfway represents reality, whereas the other half is rather, more or less, fulfilling our imagination.
