Philip Jones Griffiths
[Photojournalist, b. 1936, Rhuddian, Wales, d. 2008, London.]

 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. 

Stephen Shore
[Photographer, b. 1947, New York, lives in New York.]

 I meet young artists and it becomes clear that with some the main motivation is getting a show in Chelsea. It strikes me that this is very different to the way it was for me, which was that I wanted to understand photography and the world and myself. 

Allan Sekula
[Photographer, writer, and theorist, b. 1951, Erie, Pennsylvania, d. 2013, Los Angeles.]

 As a privileged commodity fetish, as an object of connoisseurship, the photograph achieves its ultimate semantic poverty. But this poverty has haunted photographic practice from the very beginning. 

Danny Lyon
[Photographer, b. 1942, New York, lives in Ulster County, New York.]

 [The people who run things] are so successful in the way they do it now. They could buy me off with a couple of vintage prints, they could have you do an ad, or give you a ribbon... In capitalist countries they reward artists because we’re ineffectual. 

Marshall McLuhan
[Writer and theorist, b. 1911, Edmonton, Alberta, Canada, d. 1980, Toronto, Canada.]

 Photography turns people into things and their image into a mass consumer product. 

Terence Donovan
[Photographer, b. 1936, Stepney, England, d. 1996, London.]

 You don’t do something like this for money. I’ve never met anyone who’s succeeded in life purely because they wanted the cash. 

Danny Lyon
[Photographer, b. 1942, New York, lives in Ulster County, New York.]

 My thirteen-year-old has a sign on his wall that reads “Corporate Rock Sucks.” Well now there's something called “Corporate Photography.” It’s corporations calling the shots in the world of photography. If Kodak is behind you they’ll make six copies of your exhibit, with prints big enough to sleep on and put full-page ads in the New York Times. So the corporations, who already own the media, have now bought up photography. 

John Berger
[Writer and critic, b. 1926, London, d. 2017, Paris.]

 Walk down a street of private galleries—but it is unnecessary to describe the dealers with their faces like silk purses. Everything they say is said to disguise their proper purpose. If you could fuck works of art as well as buy them, they would be pimps. 
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