Quotes About Photojournalism

I wanted to continue doing my work, but I had to figure out how. And so what I have basically come up with is that I still go to Afghanistan and Iraq and South Sudan and many of these places that are rife with war, but I don't go directly to the front line.

I've seen my own blood and broken a few bones. I've been hit, which isn't an entirely bad thing, as at least you have a glimpse of the suffering endured by the people you are photographing. And in a sense, crumbling empires and war have been with me all my life.

I was out there with the White House press squad, and after his helicopter took off, and the carpet rolled up...This wasn't a photograph that others were taking, but I continued to take pictures.

It was less in pity than in anger that the world was moved by the photograph of little Alan Kurdi, that dead three-year-old Syrian refugee boy whose name we're all remembering now on the first anniversary of his drowning, along with his five-year-old brother Galip and their mother Rehanna.

I did photography in summer camp; I did it in high school. The only hard decision I've had to make was whether to go towards photo or film. And I ultimately realized that the type of photo I was interested in was actually photojournalism. And it's a very individualist career, whereas film is a very team-driven medium. So that's why I chose film.

I have problems with a lot of photography, particularly street photography and photojournalism - objectifying the other, finding the contempt and exoticism that you might feel within yourself or toward yourself and projecting it out to others. There can be an abusive power to photography, too.

I respect newspapers but the reality is that magazine "photojournalism" is finished. They want illustrations, Photoshopped pictures of movie stars.

reportage photos 

By the time the United States went to war with Afghanistan in the fall of 2001, I had made three trips to the country. I covered the fall of the Taliban in Kandahar and have been returning routinely for the past 14 years.

In my 20 years as a photographer, covering conflicts from Bosnia to Gaza to Iraq to Afghanistan, injured civilians and soldiers have passed through my life many times.

If you've got a camera, go to a war zone and tell a story.

When asked about his photographic techniques, Arthur "Weegee" Fellig, a photojournalist from the 30s and 40s, answered, "f/8 and be there.

It's not always easy to stand aside and be unable to do anything except record the sufferings around one.

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.

Good pictures. Tragedy and violence certainly make powerful images. It is what we get paid for.But there is a price extracted with every such frame: some of the emotion, the vulnerability, the empathy that makes us human, is lost every time the shutter is released.

When I was studying photography, I became interested in conflict photojournalism, and that got me interested in lighting. Then I realized there was this amazing thing called cinematography where you could kind of tell more complete stories photographing for film. So I ended up going to AFI grad school for that.

If I'm feeling outraged, grief, disbelief, frustration, sympathy, that gets channeled through me and into my pictures and hopefully transmitted to the viewer.

I respect newspapers, but the reality is that magazine 'photojournalism' is finished. They want illustrations, Photoshopped pictures of movie stars.

Malcolm Browne managed to take a photograph of Arnett [AP's Peter Arnett] standing behind Halberstam for protection a moment later, just before another plainclothesman sneaked up behind Browne and smashed his camera with a rock. The rock did not damage the film inside. The Surete men backed off. They apparently had orders not use clubs, and they decided Halberstam was too much for them hand to hand. The uniformed police did not intervene