Best 11 quotes of Philip Jones Griffiths on MyQuotes

Content alone is propaganda; form alone is wallpaper.

Even if not a single picture is never published, they exist. And that means that we are recording the history of the human race. If that's all your doing, it still a very very worth while profession to be involved in.

Let's assume that all the cassettes of monochrome film Cartier-Bresson ever exposed had somehow been surreptitiously loaded with colour film. I'd venture to say that about two thirds of his pictures would be ruined and the remainder unaffected, neither spoiled nor improved. And perhaps one in a thousand enhanced.

People believe pictures. It's a photograph that's in your passport, not a painting. Now, George Bernard Shaw said, 'I would exchange every painting of Christ for one snapshot.' That's what the power of photography is.

[Photojournalism] really is the only branch of photography that's a credit to our profession. We see, we understand; we see more, we understand more.

Real photography is a wonderfully inclusive, democratic medium, whereas art photography is more often a private pursuit by conmen.

The ability to keep things in perspective is very important for a journalist. In a tense situation you need the ability to be there, yet somehow step aside; to keep a cool head and keep working without getting frustrated.

The first picture of his I ever saw was during a lecture at the Rhyl camera club. I was 16 and the speaker was Emrys Jones. He projected the picture upside down. Deliberately, to disregard the subject matter to reveal the composition. It's a lesson I've never forgotten.

The only thing we photographers really want more than life, more than sex, more than anything, is to be invisible.

... we are there with our cameras to record reality. Once we start modifying that which exists, we are robbing photography of its most valuable attribute.

When Bill Gates started Corbis we were told that he needed images to fill those digital picture frames in his home, and many found this plausible. But now it's pretty clear that he's set out to control the visual history of the twentieth century.