Ernest Hemingway Quotes

Brady's Photographic Corps, heartily welcomed in each of our armies, has been a feature as distinct and omnipresent as the corps of balloon, telegraph, and signal operators. They have threaded the weary stadia of every march; have hung on the skirts of every battle scene; have caught the compassion of the hospital, the romance of the bivouac, the pomp and panoply of the field review.

I love Robert Capa.

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.

When I was in Vietnam with Jane Fonda, I was shooting a farmer in a field - just a pastoral scene. And while I was shooting him, an explosion occurred right - he blew up right in my lens, so to speak. And he had stepped on a landmine.

I think probably the scaredest I've ever been was in Somalia. I arrived there when the episode that became known as 'Black Hawk Down' was still taking place. The Americans were still pinned down under fire. And everybody else was basically going the other way, and I was the only one putting my hand up for a flight in.

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

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

Not only do the brave get killed, but the brave have a better chance of it.

My objective always is to stay as close as possible and shoot the pictures as if through the eyes of the infantryman, the Marine, or the pilot. I wanted to give the reader something of the visual perspective and feeling of the guy under fire, his apprehensions and sufferings, his tensions and releases, his behavior in the presence of threatening death.

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.

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.

Three things can happen when you pass and two of 'em are bad.

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

A number of years ago, I found a book of photography by Weegee; he was a crime photographer in the 1930s in New York. He was the first person to put a police scanner in a car and drive around.

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.

'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 have to tell you, in my judgment, some of us sitting here today will not come back alive from this campaign. I want you to think about it.

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

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.

At one point, I wanted to be a wildlife photographer. I also love to travel, so maybe I'd do travel writing.

I like Ryan McGinley's work.

I love Orla Guerin - she's my queen... when I watch her on the news, I just can't believe how brave she is.

The brave or the fortunate can afford to laugh at envy.

No man or woman born, coward or brave, can shun his destiny.

Magnum photographers were meant to go out as a crusade ... to places like famine and war and ... I went out and went round the corner to the local supermarket because this to me is the front line.