Mary Ellen Mark Quotations

Usually my ideas for work have revolved around my interest in people, especially people that live on the edges of society.

There are some people who become best friends with everyone they photograph. There are people that I really like and admire and respect, but in a way I think it's better to keep a distance. I think you get better pictures of people that you don't know very well.

I just think it's important to be direct and honest with people about why you're photographing them and what you're doing. After all, you are taking some of their soul.

I really knew when I started photographing I wanted it to be a way of knowing different cultures, not just in other countries but in this country, too, and I knew I wanted to be a voyeur.

I work in colour sometimes, but I guess the images I most connect to, historically speaking, are in black and white. I see more in black and white - I like the abstraction of it.

The obsessions we have are pretty much the same our whole lives. Mine are people, the human condition, life.

I respect newspapers, but the reality is that magazine 'photojournalism' is finished. They want illustrations, Photoshopped pictures of movie stars.

I'm not against digital photography. It's great for newspapers. And there are photographers doing great work digitally. When they use Photoshop as a darkroom tool, that's fine, too. But at this point of my life, after so many years, I don't really want to change, and I still love film.

Photograph the world as it is. Nothing's more interesting than reality.

I was thinking about how fleeting and precious life is. Life is also arbitrary. For example, the choices that you make, the luck of being born into the right bed, to parents who support and help you and who love you. That doesn't always happen - and then, what happens when it doesn't?

I'm not much for cats. I'm terrified of mice. I've worked a lot with elephants, and they are extremely intelligent and sensitive, and thankfully, they seem to like me. You never want to get on the bad side of an elephant. And never trust a chimp.

Im just interested in what makes a photograph.

I think the prom is very serious also. It's an American ritual, it's a rite of passage, and it's very much a part of this country.

What you look for in a picture is a metaphor, something that means something more, that makes you think about things you've seen or thought about.

You don't need to retouch if you know how to light.

I knew from the first moment I picked up a camera, on my first school assignment, what I wanted to do for the rest of my life. I was going to find a way to travel the world and tell the stories of the people I met through photographs.

I realized all of the possibilities that could exist for me with my camera: all of the images that I could capture, all of the lives I could enter, all of the people I could meet and how much I could learn from them.

I saw that my camera gave me a sense of connection with others that I never had before. It allowed me to enter lives, satisfying a curiosity that was always there but that was never explored before.

In every successful still photographic project that I have completed, there has always been a turning point in the story where I felt that perhaps I was working on something that could be very special.

What I'm trying to do is make photographs that are universally understood... that cross cultural lines. I want my photographs to be about the basic emotions and feelings that we all experience.

I'm a street photographer, but I'm interested in any ironic, whimsical images, and there's something very romantic about a circus.

I'm most interested in finding the strangeness and irony in reality. That's my forte.

I was fascinated by my own prom pictures.

Nowadays shots are created in post-production, on computers. It's not really photography.

One of my all-time favorite photographers is Irving Penn. I wish I could have watched him work.

I was something of a problem kid. I was emotional, wild, rebellious at school. I'm very touched by kids who don't have advantages; they are much more interesting than kids who have everything. They have a lot of passion and emotion, such a strong will.

I would die if I had to be confined. I don't want to feel that I'm missing out on experiencing as much as I can. For me, experiencing is knowing people all over the world and being able to photograph.

I could spend my whole life photographing circuses. They combine everything I'm interested in - they're ironic, poetic, and corny at the same time. There's also something about a circus that's magical, sentimental, and almost tragic, like a Fellini film.

I have an incredible relationship with dogs. I'm kind of a dog-whisperer.

If I'm in an unusual or extreme social environment, I always want to know what it's like to grow up there and experience it as normal, everyday life. And I want to know what sort of adults these children are going to turn into.

I don't relax. I can't take vacations. I'm obsessive-compulsive, and I worry with every project that I'm going to fail. When it starts to go well, and I sense that something beautiful and important and meaningful is being created, it's a fantastic feeling, and I find it very hard to stop.

I always think, 'What does this picture mean? What's the best place to put my camera? Do I have anything extra in the picture, things in the background that will distract? Am I in the basic position that will give the essential things for this picture but not too much?'

Looking at my own prom photograph reminds me of how significant that moment was - and how fleeting life is.

I think photography is closest to writing, not painting. It's closest to writing because you are using this machine to convey an idea. The image shouldn't need a caption; it should already convey an idea.

I'm staying with film, and with silver prints, and no Photoshop. That's the way I learned photography: You make your picture in the camera. Now, so much is made in the computer... I'm not anti-digital; I just think, for me, film works better.

Every photograph is the photographer's opinion about something. It's how they feel about something: what they think is horrible, tragic, funny.

I've always been interested in photographing traditions and customs - especially in America. The prom is an American tradition, a rite of passage that has always been one of the most important rituals of American youth. It is a day in our lives that we never forget - a day full of hopes and dreams for our future.

I've always been fascinated by twins. In my forty years of photographing, whenever there was an opportunity, I would take a picture of twins. I found the notion that two people could appear to look exactly alike very compelling.

During prom season, I travel around the country with a 20-by-24 camera - which is logistically complicated - and photograph proms. My husband made a film of it.

As a kid, I used to dream about airplanes before I ever flew in one. I really knew, when I started photographing, I wanted it to be a way of knowing different cultures, not just in other countries but in this country, too, and I knew I wanted to enter other lives. I knew I wanted to be a voyeur.

A lot of people who don't have anything collect dogs; it's kind of a symbol of having something.

It's good that everyone has an opportunity to take pictures, the chance to be a photographer. Some are good, too. But the bad thing is that it's very, very difficult to take a great picture. Everyone can take a good picture - even a child - but it's hard to make a great one.

I love to photograph people in their own environment. It offers clues to what's important in their lives.

I love dogs. I absolutely adore them. When I'm teaching in Mexico, I rescue dogs from the streets and make my students adopt them.

In 1965, I was in Trabzon in eastern Turkey on a Fulbright scholarship. I would get up every morning and walk around the streets and look for photographs.

I remember the first time I went out on the street to shoot pictures. I was in downtown Philadelphia, and I just took a walk and started making contact with people and photographing them, and I thought, 'I love this. This is what I want to do forever.' There was never another question.

I don't see how a woman in documentary photography could have children. I think it's a very difficult thing to do to raise a family, and I have enormous respect for people who do it. I'd hate to do something like that and not be good at it.

I don't like to photograph children as children. I like to see them as adults, as who they really are. I'm always looking for the side of who they might become.

I don't like gimmicky pictures; I've always hated them. I like pictures that are very clear and clean, whether you're a great street photographer - somebody like Friedlander or Winogrand or Cartier-Bresson - or whether you're a portraitist, like Irving Penn.

A good print is really essential. I want to take strong documentary photographs that are as good technically as any of the best technical photographs, and as creative as any of the best fine-art photographs. [...] I don't want to just be a photo essayist; I'm more interested in single images...ones that I feel are good enough to stand on their own.

When I started out, it was considered very wrong to change an image. There were scandals if someone inserted a sky into a war picture or something. Now it's all about that.

When you're working on a film, it's almost like photographing paintings at a museum. You're photographing somebody else's world. I just try and interpret it and make it real, and make it what the actors are about, what the director is about, and what the film is about.

Everyone asks me how I get my subjects to open up to me. There’s no formula to it. It’s just a matter of who you are and how you talk to people - of being yourself.

To touch on people's lives [ in a way they ] haven't been touched on before, it´s fascianting. You know, it's one thing if [ a celebrity ] has an incredible character and you're really going to be able to delve into their personality – that's great. But you can never get real purity if people have been spoiled by the camera and don't trust you. I like feeling that I'm able to be a voice for those people who aren't famous, the people that don't have the great opportunities.

I always wanted to photograph the universal subjects.

It's just a matter of who you are and how you talk to people. Your subjects will trust you only if you're confident about what you're doing. It really bothers me when photographers first approach a subject without a camera, try to establish a personal relationship, and only then get out their cameras. It's deceptive. I think you should just show up with a camera, to make your intentions clear. People will either accept you or they won't.

That's the way I learned photography: You make your picture in the camera. Now, so much is made in the computer. ... I'm not anti-digital, I just think, for me, film works better.

I think you have to have a real point of view that's your own. You have to tell it your way. And, I think that it's a mistake to shoot for a specific magazine's point of view because it's never going to be as good. You have to shoot for yourself and photograph [ the way] you believe it..

I want my photographs not only to be real but to portray the essence of my subjects also. In order to do that, you have to be patient.

Learning how to use different formats has made me a better photographer. When I started working in medium format, it made me a better 35 mm photographer. When I started working in 4x5, it made me a better medium-format photographer.

I think you reveal yourself by what you choose to photograph, but I prefer photographs that tell more about the subject. There's nothing much interesting to tell about me; what's interesting is the person I'm photographing, and that's what I try to show. [...] I think each photographer has a point of view and a way of looking at the world... that has to do with your subject matter and how you choose to present it. What's interesting is letting people tell you about themselves in the picture.

I wanted to travel from the beginning. As a kid, I used to dream about airplanes, before I ever flew in one.

I go into every story thinking I'm going to fail. I think about that all the time - I think it's going to be terrible. Every story is like the first I've ever done.

In a portrait, you always leave part of yourself behind.

I'm a documentary photographer. That's what I've always wanted to be; that's where my heart and soul is.

Sometimes I work on film sets. I've done this for 40 years. I always wanted to photograph on the set of an Ingmar Bergman film. Unfortunately, I never had the opportunity.

If I hadn't become a photographer, I would have loved to become a doctor. I would have loved to have done something that actually helped people and changed their lives.

If you are interested in photography because you love it and are obsessed with it, you must be self-motivated, a perfectionist, and relentless.

A great photograph needs no explanation; it functions by suggestion. There is no need to be explicit.

I don't think you can develop or learn a way of seeing or a point of view. A way of seeing is who you are, how you think and how you create images. It is something that is inside of you. It's how you look at the world.

The subject gives you the best idea of how to make a photograph. So I just wait for something to happen.

Reality is always extraordinary.

I’m just interested in people on the edges. I feel an affinity for people who haven’t had the best breaks in society. What I want to do more than anything is acknowledge their existence.

I’m trying to please myself; certainly that’s a big criterion... though in a sense, I don’t take images just for myself. I take images that I think other people will want to see. I don’t take pictures to put in a box and hide them. I want as many people to see them as possible.

The difficulty with color is to go beyond the fact that it's color ? to have it be not just a colorful picture but really be a picture about something. It's difficult. So often color gets caught up in color, and it becomes merly decorative. Some photographers use it brilliantly to make visual statements combining color and content; otherwise it is empty.

No, I don't think you're ever an objective observer. By making a frame you're being selective, then you edit the pictures you want published and you're being selective again. You develop a point of view that you want to express. You try to go into a situation with an open mind, but then you form an opinion, and you express it in your photographs.

It’s not when you press the shutter, but why you press the shutter.

I'm interested in reality, and I'm interested in survival. I'm interested in people who aren't the lucky ones, who maybe have a tougher time surviving, and telling their story.

Finding the right subject is the hardest part.