A Quote by Jimmy Chin

I grew up looking at National Geographic. I always wondered who was taking the photos and how. — © Jimmy Chin
I grew up looking at National Geographic. I always wondered who was taking the photos and how.
I grew up in the 'hood around prostitutes, drug dealers, killers, and gangbangers, but I also grew up juxtaposed: On the doorknob outside of our apartment, there was blood from some guy who got shot; but inside, there was National Geographic magazines and encyclopedias and a little library bookshelf situation.
I love National Geographic. Just when you think you've seen the last lost native tribe, National Geographic will find a new one.
In the studio, I always put on National Geographic for inspiration. Looking at lions eating gazelles, all that type of stuff.
When you talk about avant-garde cuisine, the surprise factor is really important. For example, I love looking at blogs and the photos, but I'm not that keen on other people taking photos of my dishes.
I think about where I grew up and how I grew up: my dad was making $25,000 a year. Taking a chance wasn't really taking a chance. It was like you were going for something better. To me, there wasn't that much risk involved.
I've always felt like a lot of people's misconceptions of me have to do with how I grew up. I grew up poor, and I grew up rich.
I grew up believing that my parents helped change the world. I was so in awe of them, and I wondered how I could measure up. I mean, how do you change the world - again?
You wondered how you'd make it through. I wondered what was wrong with you. Because how could you give your love to someone else, yet share your dreams with me? Sometimes the only thing you're looking for, is the one thing you can't see.
Though Geographic didn't publish that photo in the story that it was done for, "The Life of Charlie Russell," a cowboy artist in Montana. But later, maybe a year and a half ago, they named it one of the 50 greatest pictures ever made at National Geographic.
In Toronto, I grew up taking a subway, I grew up taking a bus. I spent my formative adult years in New York City, walking the streets, taking the subway. You're connected to the larger whole. L.A. is so spread out, and you're so incubated inside those cars and it's so exhausting to deal with the traffic, without really having the human contact.
Instagram is a media company. I think we're about visual media. I explain ourselves as a disruptive entertainment platform that enables communication through visual media. I don't think it's just photos. There's a reason we don't allow you to upload photos on the Web as albums. It's not about taking all these photos off your DSLR putting them into an album and sharing them with your family. It's not about that. It's about what are you up to right now out in the real world, how can you share that with everyone.
What bothers people more than anything is that I'm an old guy taking photos of them. But maybe if you look at the photos, 20, 30 years later, it's not going to matter who took the photos. I mean, they would just be there. People will hopefully get over that.
Learning that aesthetic as a kid - seeing those photos - made me think that that's what photos are supposed to look like. I never understood snapshots. I was looking at them like, "This is horrible; that's not what a picture is supposed to look like." I was taught by these photos. So when I picked up the camera, though I had never done it before, I kind of already knew what I was doing.
My dad's a businessman, and I grew up looking up to him, how he dressed to go to work and, whenever I went to his office, how he spoke to people.
I'll be honest - my buddies are always going round saying, 'Put a shirt on. Jeez,' but I grew up on the beach. I grew up surfing. I grew up outdoors. I've sort of always liked being shirtless.
I never leaf through a copy of National Geographic without realizing how lucky we are to live in a society where it is traditional to wear clothes.
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