Top 69 Quotes & Sayings by Brandon Stanton

A lot of the children I photograph are extremely colorfully dressed in some way. But I also find a lot of kids with outsized personalities or who happen to be doing something charming.

I struck upon this kind of crazy idea that I was going to go to New York and stop 10,000 people on the streets and take their portrait and create kind of a photographic census of the city.

When I first started 'Humans of New York,' I was writing short stories. There were about 50 of them. And, you know, they were a great part of the site, but the photography just started growing so fast that I didn't have time to make them anymore.

I didn't actually begin photographing, or even visit New York, for the first time until I was 26.

Wherever I go, I just try to show normal life. If the work helps to dispel stereotypes, it's because I seek not to portray the extremities of a place, but the vast majority of people who are quite normal and are having normal life experiences.

I know I have a caption that I'm going to use when somebody tells me something I've never heard before. It's very rarely a thought, a philosophy, when somebody says, 'Oh, I don't like cheese' or 'Oh, I think the government should be overthrown,' because so many people share these thoughts. But what people don't share is stories.

I think everyone feels alone in their sadness, and there's a certain value to hearing other people's sad stories.

I'm a believer in the ordinary person, that the ordinary person is just as important and has an equally unique perspective on the world as someone who is famous or perhaps more privileged.

My two biggest lessons learned as a trader are take risks and get comfortable with taking losses and setbacks to help move you forward.

I am a huge fan of biographies. What I'm always looking for is a story. I want a story I have never heard from anyone else.

I think it's important to try to get on a kid's level when taking their photo.

I've got 50,000 Facebook fans inside of Iran, and Facebook is banned in Iran. I think the people who follow 'Humans of New York' the most after New York City is Tehran. I have a really special affection for the Persian people because they've really taken to my work.

The interviews have gotten much longer with 'Humans of New York.' When I was first starting, I was just photographing people. And then I went to just kind of including a quote or two. Now when I'm approaching somebody on the street, I'm spending about 30 to 45 minutes with them often.

It's the rejection that is hard. It's not the interviewing that's hard. It's not the photography that's hard. It's, you know, approaching people all day long and having a good portion of those people reject you and some of them be rude.

If I had sat around and waited until I had an idea to be a successful photographer, I would still be in finance.

Each time I arrived in a new city, I'd get lost in the streets and photograph everything that looked interesting, taking nearly a thousand photographs every day. After each day of shooting, I'd select 30 or 40 of my favorite photographs and post them on Facebook. I named the albums after my first impression of each city.

New York has the biggest, most eclectic collection of people in the world.

Fortunately, I've done so many interviews that I've become very good at detecting when someone is giving a less-than-candid reply.

I've done commercial work for Amtrak. However, that was branded as Stanton. I stipulated at the very beginning that it was not going to involve 'Humans of New York,' that I wasn't going to promote it on 'Humans of New York.' So nobody who follows me really even knows that I did it.

The media chooses to portray the most extreme and violent aspects of a place. I do the opposite and portray the normality.

Everybody asks, 'What does 'Humans of New York' mean?' and I always say that I try to avoid putting any kind of message in the work even if it is a positive or optimistic message. The moment you do that, you're looking for certain people and words that fit into the world view you are trying to show, and it becomes preachy.

In July of 2010, I lost my finance job in Chicago. Instead of updating my resume and looking for a similar job, I decided to forget about money and have a go at something I truly enjoyed. I'd purchased a semi-professional camera earlier that year and spent my free time taking photos in downtown Chicago.

I think that even though some of the things on 'Humans of New York' are kind of very personal and very revealing, I think the discomfort with sharing that tends to be overwritten by the appreciation of being able to distill the experience of your life into a story and share it with other people.

It's such a different spectrum of tragedies when you talk to people in developing countries.

Whenever you get a large body of work like 'Humans of New York,' a natural pathway becomes to put it between two covers. I wanted this to be a very nice keepsake. A lot of work went into it, and a lot of fans are attached to it.

I don't like to interview people in front of their friends; they clam up.

I never know what kind of people I'll meet just by stopping to take a photo.

When I meet somebody in the street who knows about 'Humans of New York,' a lot of times they might have a scripted answer, and that scripted answer is the first thing to come out of their mouth.

My interviews are very pointed. I'm an active participant; I will kindly interrupt people. But I've learned there is nothing people won't tell you if you ask in a compassionate and legitimately interested way.

As an artist in the 21st century, my two goals are to make the best work that I can, improve as much as I can, and to distribute that work as far as I can.

You know you are an artist if you appreciate beauty.

I always say that my favorite people to interview are the people who are at the beginning and the ends of their lives because they have two alternate perspectives of the world, and neither of them are less profound.

I am interviewing people with a spirit of genuine interest and compassion, and therefore, the general tone of the site is one of genuine interest and compassion. The moment that culture changes, 'Humans of New York' is no longer viable.

Being a doctor, lawyer in war-torn countries isn't easy when the infrastructure isn't there. The money, the food and education is not always accessible to achieve those dreams.

I've taken pictures in at least 14 countries, and nowhere have people told me 'no' more than New York City.

Somebody's willingness to let me photograph them, and willingness to tell me a story, has nothing to do with the words I say. It all has to do with the energy I'm giving off, which hopefully is very genuine, very interested energy. It's just two people having a conversation in the street. I think that's where genuine content comes from.

Of all the places I've been, India is the one that's on the top of my list to return to.

I don't want to interview people for the purpose of developing a world view and pushing that on people.

I'm not even really attempting to brand myself outside of 'Humans of New York.' I think part of the reason for my success is that I've put my ego aside and said I'm not going to put all of my effort into trying to promote myself. I'm going to try to promote my work and am going to try to promote my project.

I was making projections about 'Humans of New York,' back when I had zero followers, that made all my friends and family roll their eyes. I'd throw out these huge numbers: 'One day, a million people are gonna be looking at this. Trust me.' And even those wild, wild numbers I was throwing out have just been smashed. So, it's a good feeling.

I never buy plane tickets out of a country until I'm in the country, so I get on the ground, figure out what I need, where I'm going, how much time I need, and schedule as I go along.

Social media is a superimposing place where people are usually bragging.

When you are interviewing refugees, each person you talk to has a different story that could come from a horror movie. So many people talk about seeing their families get murdered before their eyes. Then I go to Central Park, and people are talking about their third divorce and paying tuition.

At some point during my travels, I had a slight change of focus which would end up defining the rest of my career. I began taking pictures of people. In addition to all the buildings, street signs and fire hydrants, I started photographing some of the interesting humans that passed by me on the street.

I don't think there's any better education than learning the intimate details of the lives of people who you most admire.

The only things I make money on are speeches and books.

Without social media, I'd probably just be a quirky, amateur photographer with a hard drive full of photos. I'd be cold calling respected publications, begging for a feature.

The most pivotal moments in people's lives revolve around emotions. Emotions make stories powerful.

'Humans of New York' did not result from a flash on inspiration. It grew from five years of experimenting, tinkering, and messing up.

'Humans of New York' is basically somebody walking up to absolute strangers on the street every day and, within minutes, talking with them about very personal things. Some things they haven't even told their best friends or family members.

Interviewing someone is a very proactive process and requires taking a lot of agency into your own hands to get past people's general normal self-preservation mode.

'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.

It seems that everywhere I go, people want the same things - security, education, family. It's just that so many people have no avenues through which to obtain these things.

I've always felt like an artistic person. I can't draw or paint or sculpt. I never really had technical skills, but I've always felt like I appreciate really beautiful things, and part of taking a good photograph is being able to recognize beauty.

It's a very immersive and intense form of travel to walk around with an interpreter and stop random people on the street and ask them about their lives.

Don't wait for perfect. Don't wait for something to be fully formed in your head to start on it. Just start, and then work it out as you go.

Just work. Don't wait. Everybody's waiting until they have the perfect idea to start working. Even if you have an inkling of what you want to do, start moving towards it. And it's going to flesh itself out through the process of moving towards the goal. And by the time you get to where you're going to be, it's not going to look anything like it did when you sat on the couch thinking about it. And if you wait until it's perfect in your head before you get of the couch and start working on it, that's never going to happen.

There are so many people that use 'following your dreams' as an excuse to not work. When in reality, following your dreams, successfully, is nothing but work.

The camera adds a certain sheen to things. Something about being frozen in time really makes things sparkle.

So what I am always looking for is, I'm always looking for something that that person has told me that nobody else has told me. It is normally not an opinion, and it is normally not a philosophy. It's almost always a story. Because we all share similar philosophies, we all share similar opinions on a lot of different issues, but all of our stories are our own.