photographers-from-france

"The marvels of daily life are exciting; no movie director can arrange the unexpected that you find in the street."

"Like everything else I've ever done, there was a furious struggle to rise heavenward."

"Don't look for mysteries. I give you pure joy."

"When we are no longer young we are already dead"

"All my life l have sought the essence of flight. Flight — what bliss."

"Work like a slave; command like a king; create like a god."

"I ground matter to find the continuous line. And when I realized I could not find it, I stopped, as if an unseen someone had slapped my hands."

"There are idiots who define my work as abstract; yet what they call abstract is what is most realistic. What is real is not the appearance, but the idea, the essence of things."

"Since the Gothic, European sculpture had become overgrown with moss, weeds – all sorts of surface excrescences which completely concealed shape. It has been Brancusi's special mission to get rid of this overgrowth, and make us once more shape-conscious. To do this he has had to concentrate on very simple direct shapes, to keep his sculpture, as it were, one-cylindered, to refine and polish a single shape to a degree almost too precious.. ..it may now be no longer necessary to close down and restrict sculpture to the single (static) form unit. We can now begin to open out. To relate and combine together several forms of varied sizes, sections, and directions into one organic whole."

"All I'm doing is putting Brâncuși's 'Endless Column' on the ground, instead of in the sky. Most sculpture is priapic with the male organ in the air. In my work, w:Priapus is down on the floor. The engaged position is to run along the earth."

"My conscious tradition is through Constantin Brâncuși, and Brâncuși just strikes me as an infinitely wiser and infinitely more talented, an infinitely stronger figure than [Marcel Duchamp|Duchamp]]. I think I could have done my work if Duchamp had not lived. I could not have done my work if Brâncuși had not lived."

"[Brancusi] has had more influence on my work than most architects."

"Modern industrial design has advanced at a rapid pace during the last ten years. Its successes are no longer confined to objects which, like automobiles and airplanes, are themselves the product of new conditions. Modern design has also begun to conquer the traditional arts, and the feeling for abstract form, first expressed in our time in the works of Picasso, Braque, Brancusi, Duchamps-Villon in Europe, or Stieglitz, Benton, and Storrs for example in the United States, has finally entered architecture and the decorative arts."

"In the rich countries, depending on the species, 80 to 95 percent of the animals we eat are “produced” in industrial breeding operations where their short lives are an uninterrupted continuity of pain. All of that becomes possible the moment we begin to regard other living beings as objects for consumption or reserves of meat that we can deal with however we please."

"Benevolence is not a commodity that needs to be distributed sparingly like cake or chocolate. It is away of being, an attitude, an intention to do good for those who enter our sphere of attention and the wish to alleviate their suffering. Loving animals also does not mean loving humans less. In fact, by also loving animals we love people better, because our benevolence is then vaster and therefore of better quality. Someone who loves only a selection of sentient beings, even of humanity, is the possessor of only fragmentary and impoverished benevolence."

"We must distinguish between spirituality in general terms, which aims to make us better people, and religion. Adopting a religion remains optional, but becoming a better human being is essential."

"We continue to live in ignorance concerning the harm we inflict on animals; very few of us have ever visited an industrial breeding site or a slaughterhouse. We maintain a kind of moral schizophrenia that has us lavishing pampering our pets and at the same time planting our forks in the pigs that have been sent to the slaughter by the millions, even though they are in no way less conscious, less sensitive to pain, or less intelligent than our cats and dogs."

"Working to spare animals the immense suffering they undergo does not diminish by one iota my determination to alleviate human misery. Needless suffering must be done away with wherever it is, in whatever form it takes. This is a war that has to be waged on all fronts, and it can be."

"It is not more anthropomorphic to postulate the existence of mental states in certain animals than it is to compare their anatomy, their nervous system, and their physiology to ours. When an animal is visibly joyous or sad, why not call things by their names?"

"The most striking quality that humans and animals have in common is the capacity to experience suffering. Why do we still blind ourselves, now at the beginning of the twenty-first century, to the immeasurable suffering that we inflict on animals, knowing that a great part of the pain that we cause them is neither necessary nor unavoidable? Certainly we should know that there is no moral justification for inflicting needless pain and death on any being."

"Kindness, altruistic love, and compassion are qualities that do not harmonize well with bias. Restricting the field of our compassion not only diminishes it quantitatively but also qualitatively. Applying our compassion only to certain beings, human beings in this case, makes it a lesser and a poorer thing."

"But with photography as with drawing or painting, once it is done I want to know whether it holds together or not. That is the real critique. I couldn’t care less if the person to whom I show what I do likes it or not — it takes all sorts to make a world and all that. To criticize is to put oneself in someone else’s shoes and try to figure out what they wanted to do. Only the “why” of things is important to me."

"The picture-story involves a joint operation of the brain, the eye and the heart. The objective of this joint operation is to depict the content of some event which is in the process of unfolding, and to communicate impressions. Sometimes a single event can be so rich in itself and its facets that it is necessary to move all around it in your search for the solution to the problems it poses — for the world is movement, and you cannot be stationary in your attitude toward something that is moving. Sometimes you light upon the picture in seconds; it might also require hours or days. But there is no standard plan, no pattern from which to work."

"I am a visual man. I watch, watch, watch. I understand things through my eyes."

"For me, the great myth is the Greek myth of Antaeus, who had to touch Earth to regain his strength. I know I must always keep in contact with the concrete, concrete reality, the small incident and the small, specific truth, which might have wide reverberations."

"I believe creative work needs communication. So it’s extremely encouraging to be with a group of people who form a community and to know that you’re not isolated, although as individuals we must always work in an inner silence."

"Nobody at Magnum decides for the other what he should do and everyone is free to tell someone else: “Well, what about this story? I don’t like it for this and that reason — because of this picture.” It is extremely fruitful to have somebody to talk to as an equal. This give and take is a most profitable thing because we keep learning from each other. I keep learning from the younger members just as I learned from Bob [Robert] Capa and Chim [David Seymour] how to make picture stories. Cornell Capa, for instance, has a very keen journalistic sense; and as for the other photographer, each makes his own contribution. Everybody in Magnum has full freedom; there’s no doctrine, there is no school, but there is something that unites all of us very strongly — I can’t define it; it may be a certain feeling of freedom and a respect for reality."

"You have to have some psychological insight, you have to know the people and you must work in a way that’s acceptable to them. There you must smile — never laugh, because that’s considered making fun. Smile, take your time, and never come bursting in with your own personality. You have to lie low. Of course you can push and perhaps raise your voice a notch, but like a sensitive emulsion, a sensitive plate. Approach gently, tenderly, and never intrude, never push. Otherwise, if you use your elbows, it will work against you. Above all, be human!"

"A contact sheet is so interesting, because you see how a photographer thinks. He comes closer and closer to a subject, corrects it, looks at it again, and then with tiny movements turns around until it is in exactly the right and exact relation to him. Contact sheets may be compared to the way you drive a nail into a plank. First you give several light taps to build up a rhythm and align the nail with the wood. Then, much more quickly, and with as few strokes as possible, you hit the nail forcefully on the head and drive it in."

"I think cynicism is the worst thing because it kills everything. There’s no more honesty, no more poetry, no more freshness. Cynicism is the worst thing — a kind of smart person who’s got all the answers. This is death. It kills creation. There’s no love, no tenderness, nothing at all left. There’s no hatred even, nothing. Equally dangerous is the detached attitude that says, “Everything is fun!”"

"There are photographers who invent, others who discover. Personally, I am interested in discoveries, not for the trials or experiences but to capture life itself. I flee from the dangers of the anecdote and the picturesque, which are very easy and better than sensational, but quite as bad. To my mind, photography has the power to evoke, and must not simply document. We have to be abstract, just like nature."

"Anybody can take photographs. I have seen in the Herald Tribune some taken by a monkey that managed, with a Polaroid camera, as well as some camera owners. It is precisely because our profession is open to everyone that it remains, in spite of its fascinating ease, extremely difficult."

"If I am asked about the photographer’s role in our times, the power of the image and so on, I do not want to launch into explanations. I only know that people who know how to look are as rare as those who know how to listen."

"I hate looking at photography books or illustrated magazines. This is not because of contempt. I’d rather look at contact sheets: that is where you can sense the individual."

"This book [Zen in the Art of Archery], by Herrigel, which I discovered a few years ago, seems to me fundamental to our profession as photographers. Matisse wrote similarly about drawing: set a discipline, make rigor a rule, forget oneself completely. And in photography the attitude must be the same: detach oneself, do not try to prove anything at all. My sense of freedom is the same: a frame that allows any variation. This is the basis of Zen Buddhism, the evidence: that you go in with great force and then you succeed in forgetting yourself."

"You have to look, and looking is so difficult. We are used to thinking. We reflect all the time, well or not, but people are not taught how to look. It takes a very long time."

"Photography is solitary work. There is emulation. It is interesting to know what other people do. Even so, writers do not read everything that is published. A painter does not look at everything. You have to choose. It’s reality, it’s life that is important. We shouldn’t be sniffing around each other all the time, looking...."

"When you use a camera, your visual concentration is intense, as it is when you draw. But if you overshoot, your contact sheet is likely to become a jumble of peelings. You need a lot of sand to discover a nugget. Shooting is a play between pickpocketing and tightrope walking; an endless play, fraught with huge tension."

"Photography has never been a problem for me, [what is important] is looking, the way of looking, of questioning with your eyes: I don’t think; I am impulsive, it is /looking/ that’s important, not photography. Now, since I have started drawing, I’ve merely switched tools, but it is still looking that’s important. To look the right way, one should learn to become a deaf-mute."

"Photography has fulfilled my adventurous side: it is a real trade. I behaved like a thief in every country where I went, in China, in Africa, in America… all things considered, our trade is situated somewhere between pickpocket and tightrope walker… yes, we steal from people, we take something that belongs to them: their image, their culture."

"We had a certain idea of our work, a respect for others, and above all, [we were determined] not to be paparazzi. For the photographer, curiosity is essential, the terrible counterpart is indiscretion, which is a lack of restraint."

"From birth, man carries the weight of gravity on his shoulders. He is bolted to earth. But man has only to sink beneath the surface and he is free."

"Sylvia Earle, though a great scientist, is also the heir to Jacques Cousteau, inducting the landbound among us into the mysteries of the sea, helping us to feel both astonished and at ease."

"Sylvia Earle's generation — they were explorers...They’re like, what is even down there? How do we understand this? And then: Oh [bleep], this is in trouble. And they all became conservationists, right? We saw that same professional transformation with Jacques Cousteau."

"Sometimes we are lucky enough to know that our lives have been changed, to discard the old, embrace the new, and turn headlong down an immutable course."

"We have to prepare for what life could become in 40 years. We need to outline what is possible and what is impossible with the non-renewable resources of the Earth. What role will technological improvement play? Taking all this into account, what kind of life can we produce in the best way for 10 billion people? That's a problem that needs to be solved."

"In the last few decades, a terribly pernicious rumor has been circulated by the press. It claims, exhibiting a level of stupidity heretofore considered impossible, that a human being could crawl through the arteries of a blue whale. Of course, nothing could be farther from the truth. I do not know why this deleterious rumor has been systematically repeated, but its very existence is an ugly cancer upon the face of science."

"I said that the oceans were sick but they're not going to die. There is no death possible in the oceans — there will always be life — but they're getting sicker every year."

"The glory of nature provides evidence that God exists"

"I am not a scientist. I am, rather, an impresario of scientists."