Top 112 Quotes & Sayings by Martin Parr - Page 2

You can't shoot in sepia, so converting into black and white and then into brown makes everything feel less real.

Most of us, when we go out with a camera in our own country, try to find exotic subject matter to photograph.

For those aspiring to make a living from travel photography, it's a sad fact that the boring shots are the shots that are going to make you money.

Choosing sepia is all to do with trying to make the image look romantic and idealistic. It's sort of a soft version of propaganda.

I would urge everyone to start looking at the world in a different way. Spend some time looking at everyday objects, at their design, their shape, their individual characteristics. Think ahead and imagine their significance.

By default, I am a travel photographer. I work on a combination of commissions and personal projects that take me around the world.

I pride myself in being an aficionado of the British seaside. Throughout my career, I have visited and worked in many of the famous British resorts, from Great Yarmouth to Largs.

The knack is to find your own inspiration and take it on a journey to create work that is personal and revealing.

As we travel around Britain, I am convinced most of us cannot really appreciate what we are seeing. We take too much for granted, because it is all so familiar.

I am not as cross about Thatcher now as I was in the '80s. Begrudgingly, I can see that some of her policies helped modernise Britain.

Modern technology has taken the angst out of achieving the perfect shot. For me, the only thing that counts is the idea behind the image: what you want to see and what you're trying to say. The idea is crucial. You have to think of something you want to say and expand upon it.

Personally, I don't take holidays; I go on trips. My idea of relaxing is taking a trip that isn't commissioned. I'll work just as hard, but without that nagging pressure of fulfilling a commission. Now that's what I call a holiday.

I am what I photograph.

My black-and-white work is more of a celebration and the color work became more of a critique of society.

When a mother takes pictures of her children on the beach, she doesn't take herself for an artist; she does it for love, which is an excellent reason, from my point of view.

I accept that all photography is voyeuristic and exploitative, and obviously I live with my own guilt and conscience. It's part of the test and I don't have a problem with it.

I go straight in very close to people and I do that because it's the only way you can get the picture. You go right up to them. Even now, I don't find it easy. I don't announce it. I pretend to be focusing elsewhere. If you take someone's photograph it is very difficult not to look at them just after. But it's the one thing that gives the game away. I don't try and hide what I'm doing - that would be folly.

There are two parts to the process: taking the picture and finding ways of using it.

Color was the palette of commercial photography and snapshot photography.

Photography's central role is to be the absolute medium of the day. It is fantastic that there is no longer any technical intimidation.

Part of the role of photography is to exaggerate. Most of the photographs in your paper, unless they are hard news, are lies. Fashion pictures show people looking glamorous. Travel pictures show a place looking at its best, nothing to do with the reality... Most of the pictures we consume are propaganda.

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.

You have to take a lot of bad pictures. Dont' be afraid to take bad pictures... You have to take a lot of bad pictures in order to know when you've got a good one.

You can't learn passion, either you've got it or you haven't.

With photography, I like to create a fiction out of reality. I try and do this by taking society's natural prejudice and giving this a twist.

To ask people's permission to take their pictures? Sometimes it feels right to ask, but I will not ask, unless it is essential to do so. If you asked all the time, you would miss everything. With the exception of portraits, it is generally bad news if people are looking at the camera.

I do read many of the photography magazines from the UK and abroad.

I see things going on before my eyes and I photograph them as they are, without trying to change them. I don't warn people beforehand. That's why I'm a chronicler. I speak about us and I speak about myself.

I get up early and open my emails, write cheques and answer the phone; whatever needs to be done.

Photos tend to organize chaos, to define what we're doing here. It is essential that individuals' voices depict the world around us, as we are increasingly controlled by large institutions, large companies and large systems.

If you photograph for a long time, you get to understand such things as body language. I often do not look at people I photograph, especially afterwards. Also when I want a photo, I become somewhat fearless, and this helps a lot. There will always be someone who objects to being photographed, and when this happens you move on.

The knack is to find your own inspiration, and take it on a journey to create work that is personal and revealing.

All photography is propaganda.

The easy bit is picking up a camera and pointing and shooting. But then you have to decide what it is you’re trying to say and express.

The danger is, you have a formula and you just repeat it.

Unless it hurts, unless there’s some vulnerability there, I don’t think you’re going to get good photographs.

I am a big fan of Jim Jarmusch and I do love big screen documentaries.

We are drowning in images. Photography is used as a propaganda tool, which serves to sell products and ideas. I use the same approach to show aspects of reality.

I am not as cross about Thatcher now as I was in the 80s. Begrudgingly, I can see that some of her policies helped modernise Britain.

Photographs are interpretations of reality; as such, it is entirely subjective. Most photos are taken with an agenda, to sell something or to make a subject look better than it really is. Think of family snapshots - everyone is smiling and happy.

I looked around at what my colleagues were doing, and asked myself, 'What relationship has it with what's going on?' I found there was a great distortion of contemporary life. Photographers were interested only in certain things. A visually interesting place, people who were either very rich or very poor, and nostalgia.

From the moment the tourist enters the site, everyone has to be photographed in front of every feature of note.... The photographic record of the visit has almost destroyed the very notion of actually looking.

When I first started learning how to take photographs, you had to spend the first six months figuring out what an f-stop was. Now you just go and take pictures.

As artists get wealthier and more famous, often their work gets worse... I'm fascinated by the decline of artists. I suspect I'll be in decline myself. It's a fact of life.

I try to photograph my own and society's hypocrisy.

You can read a lot about a country by looking at its beaches: across cultures, the beach is that rare public space in which all absurdities and quirky national behaviors can be found.

Most of the pictures we consume are propaganda.

Photography is Art and Art is Photography.

Work harder, get closer and be passionate about what you photograph.

Nobody thinks about technical issues anymore because cameras or camera phones take care of that automatically. On the other hand, you still have the option of controlling every technical aspect. It's the most accessible, democratic medium available in the world.

In 1982 I bought the newly released Makina Plaubel 55mm fixed-lens camera. With this shift from 35mm to 6 x 7, I also changed from black and white to color. Later that year, I started my project on New Brighton called The Last Resort. However, the first project I shot in colour was composed of urban scenes from Liverpool. This image was on the second roll of film. It's the first good photo I made in this new chapter of my work.

Everyone is a photographer now, remember. That's the great thing about photography.