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.— Martin Parr
The most captivate Martin Parr quotes you will be delighted to read
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.
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.
Part of the role of photography is to exaggerate, and that is an aspect that I have to puncture. I do that by showing the world as I really find it.
Most of the pictures we consume are propaganda.
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.
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.
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.
The thing about tourism is that the reality of a place is quite different from the mythology of it.
Unless it hurts, unless there’s some vulnerability there, I don’t think you’re going to get good photographs.
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.
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.
The knack is to find your own inspiration, and take it on a journey to create work that is personal and revealing.
I get up early and open my emails, write cheques and answer the phone; whatever needs to be done.
Wealthy people have not disappeared, they are just not so willing to show off their wealth.
Everyone is a photographer now, remember. That's the great thing about photography.
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.
I toyed with the notion of being an actor, and am so glad that this whim did not go any further.
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.
I am away so much, so I rarely see live TV, but I use iPlayer to catch programmes.
Color was the palette of commercial photography and snapshot photography.
Dictators are interesting, no?
I am not a huge follower of music and tend to like one CD and play it to death, usually when I am washing up.
Taking photos is a form of collecting.
I avoid Facebook, LinkedIn and Twitter, and if I need to communicate with someone, I email direct.
Photography is the simplest thing in the world, but it is incredibly complicated to make it really work.
Most of the photographs people take with their cameraphones are of little value in terms of documentary.
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.
All photography is propaganda.
Tourism is the biggest industry in the world.
I am kept awake by the list of possibilities for shooting more photos and deciding what I must prioritise next.
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.
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.
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.
I never think of photographs as being individual. Always as a group.
I do read many of the photography magazines from the UK and abroad.
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.
Work harder, get closer and be passionate about what you photograph.
There are two parts to the process: taking the picture and finding ways of using it.
Photography's central role is to be the absolute medium of the day.
It is fantastic that there is no longer any technical intimidation.
You can't learn passion, either you've got it or you haven't.
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.
I have been photographing people dancing for 20 or 30 years now, and I think I will eventually do a book of dancing photos.
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.
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.
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.
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.
Filming is always a challenge because I'm not used to it.
But I approach it head-on. I'm not technically brilliant, but it's the spirit that counts.
My black-and-white work is more of a celebration and the color work became more of a critique of society.