Rhys Ifans Quotes

My strength is looking for composition and light, and I think those things come in the quieter times of war or photographing people affected on the margins of war - civilians, refugees; that is where I really excel.

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 hope to stay unemployed as a war photographer till the end of my life

From Matthew Brady and the Civil War through, say, Robert Capa in World War II to people like Malcolm Brown and Tim Page in Vietnam. There was, seems to me, a kind of war-is-hell photography where the photographer is actually filming from life.

I've been in wars and in riots and hung out of many helicopters in the early days. And there's a detachment that happens when you look through the camera. You're looking for the shot.

Photography can be a powerful instrument for change, and photojournalists can tell stories that make a difference.

'America 24/7' will be a landmark series in documentary photography and the watershed event of the new digital photography age.

Iraq is in a civil war. There is no road in that country that is safe.

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.

I have spent the past ten years in just about every war zone there was.

Even a war zone looks peaceful in most places, most of the time.

I wish I was the kind of writer who would go to a war zone and write about something that's meaningful and important to people, but that's not my area of coverage.

I'd been to a number of war zones before in my life, but I had never been in one as terrifying as Chechnya.

Photographer James Nachtwey has spent his professional life in the places people most want to avoid: war zones and refugee camps, the city flattened by an earthquake, the village swallowed by a flood, the farm hollowed out by famine.

As much as I'm not a journalist, I use journalism. And when you photograph a relationship, it's quite wonderful to let something unfold in front of you.

My job is to take the pictures, communicate a message, to bring those images to the greater public through whatever publication I'm working for. My job is really to be a messenger, and that's what I've been doing.

We are losing each day an average 50 to 60 people throughout the country, if not more. If this is not civil war, then God knows what civil war is.

I started photographing people on the street during World War II. I used a little box Brownie. Nothing too expensive.

I have been to several wars to draw. I went to Vietnam. And made drawings in Vietnam during that period of the war there, and found that to be a very very sad situation.

The north of the Central African Republic is now a war zone, with rival armed bands burning villages, kidnapping children, robbing travelers and killing people with impunity.

I work on stories rather than individual pictures.

I like when an image could be just one of several others which would create a story. That you can imagine who are those people or what would happen before, what's going to be next; I like when there's a past and a future that we can imagine when we see photos.

If you look at photojournalism, it's largely driven by current events... always chasing a crisis or disaster. I follow a narrative that is much looser than current events.

The photographers I worked alongside loved the news cycle and the hustle and getting that front page of the newspaper. But I wanted to be out in the field in conflict areas, documenting real life rather than political theater.

I became obsessed with the storytelling of photography and going on little adventures.