Quotes of All Topics . Occasions . Authors
You should never use the camera to make your pictures. You use yourself, your experience to make the picture with the camera. Not the other way around.
The real truth of life is on the streets. Photograph the daily lives of people, and how they exist, and how they fight for space and time and pleasure.
I'm half deaf. I have nerve damage and a constant ringing in both of my ears, and there are certain times and conditions when I can hardly hear at all.
I began after college, about 1972. I began to teach myself photography. I went to work for a local newspaper for four years as a kind of basic training.
Even before the election I was saying that the rhetoric used by Trump was going to cause violence before and after the election. That was easy to predict.
I wanted the ideal personal life, but I also wanted to keep rushing off, and that doesn't work, not unless you've got an incredibly understanding partner.
... we are there with our cameras to record reality. Once we start modifying that which exists, we are robbing photography of its most valuable attribute.
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.
A picture can express a universal humanism, or simply reveal a delicate and poignant truth by exposing a slice of life that might otherwise pass unnoticed.
If Im feeling outraged, grief, disbelief, frustration, sympathy, that gets channeled through me and into my pictures and hopefully transmitted to the viewer.
I just pray. And 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.
If I'm feeling outraged, grief, disbelief, frustration, sympathy, that gets channeled through me and into my pictures and hopefully transmitted to the viewer.
A lot of women act like it's the easiest decision, and I'm just going to have a baby and put my life on hold and not be worried about it. Well, I was worried.
We photographers say that we take a picture, and in a certain sense, that is true. We take something from people's lives, but in doing so we tell their story.
The photograph is an undeniably powerful medium. Free from the constraints of language, and harnessing the unique qualities of a single moment frozen in time.
I'm incredibly focused. I think it's a blessing and a curse. I'm so driven that nothing else can stand in my way. For many years, I didn't have a personal life.
Unfortunately, the world continues, history continues to produce tragedies. And it is very important that they be documented in a humane way, in a compelling way.
I was assigned a Taliban "minder" who followed me everywhere. But he couldn't follow me into homes where there were women, so I took photos inside people's homes.
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.
What we get to think and know about the world is in the hands of a very few... A truly informed public is antithetical to the interests of modern consumer capital.
None of the editors I've worked with have ever asked me to pull my punches. They've never asked me to give them anything other than my own interpretation of events.
I couldn't possibly have any regrets, because I've been very lucky, I've been celebrated, and I've survived. I couldn't have one single regret. That would be absurd.
There are ways to minimize the risk if you are a woman working in the Middle East: You can dress modestly, wear the hijab, cover your head, always travel with a man.
I'm not the kind of person to sit and dwell for ages on something that happened. I go through something, I experience it, I try to learn from it, and I move forward.
My life isn't always at risk, even if I'm in a war zone. A lot of these places have areas of calm, so covering war doesn't necessarily mean being shot at all the time.
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.
People will say to me, "Well, nobody really believes this stuff." But as a reporter I go out and talk to people who do believe it. And they can talk about it for hours.
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.
The first time I visited Afghanistan in May 2000, I was 26 years old, and the country was under Taliban rule. I went there to document Afghan women and landmine victims.
Sometimes it felt like I was carrying pieces of human flesh back home with me, not negatives. It's as if you are carrying the suffering of the people you have photographed.
Many people misunderstand me - I'm quite happy to be called a photographer. All of a sudden, the art world has caught up with photography, and they are trying to hijack us.
In a place like Afghanistan where the society is completely segregated, women have access to women. Men cannot always photograph women and cannot get the access that I get.
Photography isn't about seeing, it's about feeling. If I don't have some kind of feeling for what I'm shooting, how can I expect the person who looks at it to feel anything?
For me, the strength of photography lies in its ability to evoke humanity. If war is an attempt to negate humanity, then photography can be perceived as the opposite of war.
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.
I became a photographer in order to be a war photographer, and a photographer involved in what I thought were critical social issues. From the very beginning this was my goal.
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.
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.
We're journalists, so our default position is we're not writing editorial. We're trying to bring information to readers, viewers, so that they can make up their own conclusions.
Photography for me is not looking, it's feeling. If you can't feel what you're looking at, then you're never going to get others to feel anything when they look at your pictures.
I am a professed atheist, until I find myself in serious circumstances. Then I quickly fall on my knees, in my mind if not literally, and I say : 'Please God, save me from this.'
That there are evil people destroying America and it's a conspiracy and time is running out and we should do something about it - that's what millions of people hear Trump saying.
For me, taking photographs is such a tortured process. I'm always feeling like I'm not getting enough: I'm in the wrong place, the light isn't good, the subject's not comfortable.
I want to save lives, including my own, but Cambodians believe we just rent this body. It is just a house for the spirit, and if the house is full of termites, it is time to leave.
I've always been interested in the rest of the world. My family is very eccentric; my parents have always been very supportive of travel and doing whatever I thought I needed to do.
This idea of helping the next generation is a very intrinsic part of photojournalism. We need to continue to build this new group of photographers that come in and tell these stories.
I have a store full of thousands and thousands of images in my brain. I've got this terrible feeling I'm like some abattoir boss: I know death; I know the cut pieces of the human body.
I feel shabby - because I've made a name, quite a good name, out of photography. And I still find myself asking the same questions: Who am I? What am I supposed to be? What have I done?
It was nice to be in my own country, where I didn't need a translator or a driver. Where I didn't need to figure out cultural references or what hijab I needed to wear to cover my hair.
Liberia is not at the center of a massive geopolitical game. Afghanistan is and has always been. The history is dramatic, the politics are dramatic, the landscape is incredibly dramatic.