Photographer Quotes
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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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On my YouTube channel, I put up 3-4 videos a week, and I spend a lot of money to maintain that content. When I travel, I travel with a videographer and a photographer no matter what.
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The head of the photographer is more important than his camera.
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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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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 photographer cannot be inexperienced, or too mature. A photographer ought to be half-ripe.
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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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The goal for the photographer is be visually articulate.
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I have always done the opposite of what I was trained to do... Having little technical background, I became a photographer. Adopting a machine, I do my utmost to make it malfunction. For me, to make a photograph is to make an anti-photograph.
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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.
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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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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 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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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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What you need to be a good photographer is an overwhelming curiosity and a good digestion.
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One of the most important pieces of equipment, for the photographer who really wants to improve, is a great big wastepaper basket.
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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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Photographers can either look out the window at the world or they can look in the mirror.
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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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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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Herein lies the main objective of portraiture and also its main difficulty. The photographer probes for the innermost. The lens sees only the surface... .
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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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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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I never knew anyone who came close to Marilyn in natural ability to use both photographer and still camera. She was special in this, and for me there has been no one like her before or after. She has remained the measuring rod by which I have - unconsciously - judged other subjects.
