Photojournalism Quotes

Now, when I came on to Washington to begin my job, I was so interested in photography at that time that I really would have preferred to work with Stryker than with my department, which was more artistic if you wish.

I kind of grew up with a camera in my hand.

I'm the sort of person who takes a camera to dinner or a nightclub because I enjoy taking pictures of people. I tweet all my pictures, which is bad.

I like photographing the people I love, the people I admire, the famous, and especially the infamous. My last infamous subject was the extreme right wing French politician Jean-Marie Le Pen.

When you start out, you're not really aware. I didn't have a sense of photographic history.

I'm always taking pictures and travelling with a camera and have so many photos that I've done a book.

I've hardly taken a photograph since 1967.

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

I lived and grew up in the black and white period of photojournalism.

It was interesting to shoot history as it happens, without anyone demanding a huge story.

I have very interesting hobbies like archeology and photography.

I don't want to knock photography, and I don't feel that film is up there but photography isn't. I think they're next to each other really, you know. There's an incredible strength to a still picture. Or there can be an incredible strength to a still picture that can outlive you. That can outlive a film.

I've always been a bit of a documentarian.

I have always had a great interest in visually documenting the past.

You can go into all sorts of situations with a camera and people will think they should serve it.

Paparazzi will try to get the most controversial picture of you in a compromising position because that's how they're going to sell it.

I admired the work of photographers like Beaton, Penn, and Avedon as much as I respected the grittier photographers such as Robert Frank. But in the same way that I had to find my own way of reportage, I had to find my own form of glamour.

I had fallen in love with photography and was making a living doing photographic features for publications such as 'Picture Post,' 'Paris Match' and 'Life' magazine. But in 1939, I saw a huge headline, which I think was in the 'Sunday Express.' It said, 'Danzig - Danger Point of Europe.' I packed up my Leica, got on a train, and went.

In the 1930s, photographers such as Walker Evans and Dorothea Lange produced images of sharecroppers and Okies, which drew attention both to the conditions in which these unfortunates found themselves and to their heroic fortitude.

Anyone who looks for life can find it... and they don't need to photograph ashcans. The average camera fan reminds me of Pollyanna, with a lollypop in one hand and a camera in the other. You can't be a Nice Nelly and take news pictures.

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.

Photography was a big part of our family.

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.

The paparazzi do what they do, man. They have a job, too.