Photographer Quotes
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A photographer cannot be inexperienced, or too mature. A photographer ought to be half-ripe.
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I am a tender, beautiful and loving guy that happens to slap a photographer now and then because they get in my way.
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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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I'm kind of a twisted social documentary photographer.
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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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I don't meet stockbrokers or carpenters or coal miners; I spend all day with actors, composers and photographers.
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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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A photographer is like a cod, which produces a million eggs in order that one may reach maturity.
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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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Basically I'm always looking for things. Any good photographer should always be looking for something, you know.
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I believe it is the photographer's function to reveal that which is concealed, even if it be repugnant to the majority, not merely to record what we see around us.
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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 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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If a photographer cares about the people before the lens and is compassionate, much is given. It is the photographer, not the camera, that is the instrument.
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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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A great photographer shares what they fear losing most
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We had to pose with towels wrapped around us, holding rubber rings, that sort of thing. The turning point came when a photographer asked us to get on a fur rug and crawl like cats. We said no, because it was sexist and disrespectful.
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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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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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You can take a good picture of anything. A bad one, too.
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A photographer doesn't just copy reality, but communicates to others what he or she experiences.
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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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André Kertész has two qualities that are essential for a great photographer: an insatiable curiosity about the world, about people, and about life, and a precise sense of form.
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Herein lies the main objective of portraiture and also its main difficulty. The photographer probes for the innermost. The lens sees only the surface... .
