Sebastiao Salgado Quotes
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Let's build Paradise again.
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I believe that the average person can help a lot, not by giving material goods but by participating, by being part of the discussion, by being truly concerned about what is going on in the world.
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I try with my pictures to raise a question, to provoke a debate, so that we can discuss problems together and come up with solutions.
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For me, art is such a wide concept - anything can be art.
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I am a former economist. I never went to photography school to learn photography.
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More than ever, I feel that the human race is one. There are differences of colour, language, culture and opportunities, but people's feelings and reactions are alike. People flee wars to escape death, they migrate to improve their fortunes, they build new lives in foreign lands, they adapt to extreme hardship….
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Of course, I won't be abandoning photography, because it is my life.
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In the end, the only heritage we have is our planet, and I have decided to go to the most pristine places on the planet and photograph them in the most honest way I know, with my point of view, and of course it is in black and white, because it is the only thing I know how to do.
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I discovered that close to half the planet is 'pristine.' We live in towns such as London, Paris or Sao Paulo and have the impression that all the pristine areas are gone, but they are not.
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I don't want anyone to appreciate the light or the palette of tones. I want my pictures to inform, to provoke discussion - and to raise money.
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If you take a picture of a human that does not make him noble, there is no reason to take this picture... “If you take a picture of a human that does not make him noble, there is no reason to take this picture. That is my way of seeing things.
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I'm not an artist. An artist makes an object. Me, it's not an object, I work in history, I'm a storyteller.
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I tell a little bit of my life to them, and they tell a little of theirs to me. The picture itself is just the tip of the iceberg.
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We are one human race, and there must be understanding among all men. For those who look at the problems of today, my big hope is that they understand. That they understand that the population is quite big enough, that they must be informed that they must have economic development, that they must have social development, and must be integrated into all parts of the world.
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What I want is the world to remember the problems and the people I photograph. What I want is to create a discussion about what is happening around the world and to provoke some debate with these pictures. Nothing more than this. I don't want people to look at them and appreciate the light and the palate of tones. I want them to look inside and see what the pictures represent, and the kind of people I photograph.
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It's not the photographer who makes the picture, but the person being photographed.
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I can be an artist a posteriori, not a priori. If my pictures tell the story, our story, human story, then in a hundred years, then they can be considered an art reference, but now they are not made as art. I'm a journalist. My life's on the road, my studio is the planet.
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I have been photographing the portrait of an end of an era, as machines and computers replace human workers. What we have in these pictures is an archeology.
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In GENESIS, my camera allowed nature to speak to me. And it was my privilege to listen.
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The light in Alaska in particular is so beautiful. So beautiful! Such incredible light.
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As in any person's life, there have been difficult moments: I have a son with Down's syndrome; through my photography, I have witnessed all manner of human degradation. But there have also been very happy moments.
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The language that photography has is a formal language. Any photographer is doing something formal. If it's formal, then it must be an aesthetic way to communicate.
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Photography is full of symbolism, it's a symbolic language. You have to be able to materialize all your thoughts in one single image.
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I looked through a lens and ended up abandoning everything else.
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My way of photographing is my way of life. I photograph from my experience, my way of seeing things.
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You photograph with all your ideology.
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It's more important for a photographer to have very good shoes, than to have a very good camera
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The picture is not made by the photographer, the picture is more good or less good in function of the relationship that you have with the people you photograph.
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There comes a moment when it is no longer you who takes the photograph, but receives the way to do it quite naturally and fully.
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I discovered photography completely by chance. My wife is an architect; when we were young and living in Paris, she bought a camera to take pictures of buildings. For the first time, I looked through a lens - and photography immediately started to invade my life.
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