A Quote by Robert Mapplethorpe

I'm not a photojournalist. — © Robert Mapplethorpe
I'm not a photojournalist.
I'm not a documentarian. I'm not a photojournalist.
You are not just a photojournalist, you're a historian.
If I wasn't a comic or TV star, I really wanted to be a photojournalist.
I do love acting. But to work as a photojournalist would have been extraordinary.
If I wasn't a comic or TV star, I really wanted to be a photojournalist. That was my other dream job.
In my 20s, when I was a photojournalist in Beijing. I joined an underground art group and put on clandestine exhibitions of my paintings.
I am not a photojournalist and certainly not used to the Jason Bourne type stuff that some photographers have to deal with.
The possibility to mobilize the international community to act on human suffering is what drives me every day as a photojournalist.
There's a tired notion that the photojournalist has to be disengaged to be able to shoot what he shoots, and that's such a cliched idea of what the experience is. Of course they're engaged, and they're not distanced.
I have been blessed to realize my dream of becoming an underwater photojournalist, but with that, I feel an obligation and sense of urgency to share what I have seen with others.
To be a photojournalist takes experience, skill, endurance, energy, salesmanship, organization, wheedling, climbing, gatecrashing, etc. - plus an eye and patience.
Unfortunately, conflicts have always been there and they don't seem to be stopping. I'm a journalist and a photojournalist at heart, and I think that we have to be there always to cover it.
Reporters listen, photographers look. If you are doing your job seriously as a photojournalist, your sight must be the primary sense that you use at all times.
My job is very simply that of a photojournalist. I want to stop people's eye on the page, I want to move the viewer to laughter, to sadness, sometimes to wince - not to impress other photographers.
My evolution into becoming a photojournalist started with falling in love with literature when I was a teenager, falling in love with novels and imagining a life of being a storyteller.
I was keen to challenge this vernacular as the role of the photojournalist was changing, and images were becoming urgent and more succinctly linguistic. This is why I moved to publishing artists who were challenging the veracity of both the medium and the profession through their works.
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