Leonard Nimoy Quotes

The intensive use of photographs by mass media lays ever fresh responsibilities upon the photographer. We have to acknowledge the existence of a chasm between the economic needs of our consumer society and the requirements of those who bear witness to this epoch. This affects us all, particularly the younger generations of photographers. We must take greater care than ever not to allow ourselves to be separated from the real world and from humanity.

I realize that I had the best of serious picture journalism.

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.

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

I'm a documentary photographer. That's what I've always wanted to be; that's where my heart and soul is.

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 love photography, I love food, and I love traveling, and to put those three things together would just be the ultimate dream.

I do love acting. But to work as a photojournalist would have been extraordinary.

My photography is often a sociological look at American culture, and it's been very well published in the U.K.

If I take pictures at a party, I never get bored.

I remember the first time I went out on the street to shoot pictures. I was in downtown Philadelphia, and I just took a walk and started making contact with people and photographing them, and I thought, 'I love this. This is what I want to do forever.' There was never another question.

I knew from the first moment I picked up a camera, on my first school assignment, what I wanted to do for the rest of my life. I was going to find a way to travel the world and tell the stories of the people I met through photographs.

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.

I wanted to be a scientist. I did a thesis on lions. But I realised photography can show things writing can't. Lions were my professor of photography.

I'm not a photojournalist.

To see, and to show, is the mission now undertaken by Life.

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.

If I wasn't a comic or TV star, I really wanted to be a photojournalist. That was my other dream job.

I think a lot of times, especially for certain stories, photographers travel together for safety reasons, and they also invariably cross paths. But you could have 10 photographers shooting together in the same spot but capturing different images.

'Humans of New York' wasn't the result of a fully finished idea that I thought of and then executed; it was an evolution. There were hundreds of tiny evolutions that came from me loving photography.

I got my first camera when I was 21 - my boyfriend gave it to me for my birthday - but at that point politics was my life, and I viewed the camera as a tool for expressing my political beliefs rather than as an art medium.

The most powerful weapon in the world, as far as I'm concerned, is the camera.

I came up in photography, and Dust Bowl-era photography is a lot of the reason that I got behind the camera in the first place.

My uncle was a photographer for 'The Irish Times.'

I'm always taking behind-the-scenes photos and stuff.