For me, documentary photography has always come with great responsibility. Not just to tell the story honestly and with empathy, but also to make sure the right people hear it. When you photograph somebody who is in pain or discomfort, they trust you to make sure the images will act as their advocate.
I don't see myself as being injured by a landmine or the Taliban; I was injured by ignorance and hatred. When people do these things, they want to create more hatred. Fight it with love and education.
A lot of great creativity comes from restrictions.
I remember, on the medevac helicopter, I said to myself, "I am not f - - g dying in Afghanistan." People talk about having flashbacks; I began having flash-forwards. I began thinking of all the things I still wanted to do.
When you are doing portraits, you have that intimacy with someone for a few minutes. For a really good portrait, you don't take the portrait - it's given.
War is not something that can be won. Everybody loses at war.
I've learned to listen in all aspects of life, in all relationships and communications. The biggest lesson is to listen.
It is what it is. I can't change what's happened to me.
I am a big believer in love. Love for me is what got me through.
I had been a fashion photographer for over ten years, but I'd always been dissatisfied with what I was doing. It was all about selling people, and I got disheartened by the whole industry.
For most Olympic athletes‚ their training is their hardest challenge and where they push themselves to the limit. For Paralympians‚ training and competition is an escape from the hardships and struggles of their everyday life. That is the difference.
I'm not a war photographer. I've always dealt with the consequences of conflict.
