Jeff Wall
[Photographer, b. 1946, Vancouver, Canada, lives in Vancouver.]

 It is astonishing to remember that important art-photographs could be purchased for under $100 not only in 1950 but in 1960. 

Oscar Rejlander
[Photographer, b. 1817, Sweden, d. 1875, London.]

 I am tired of photography-for-the-public, particularly composite photographs, for there can be no gain and there is no honour, only cavil and misrepresentation. (1859) 

Brassaï (Gyula Halász)
[Photographer, b. 1889, Brassó, Transylvania, Hungary (now Romania), d. 1984, Eze, Alpes-Maritimes, France.]

 Now that a perfect whole is slowly emerging from I develop day after day (light and shadow, front stairs and back stairs, the 500-franc banquet and the cesspit), I have to admit that I must truly be what an American writer, Henry Miller, called me: “the eye of Paris.” You see, even if it took a lot of struggle, I have wrested from fate the opportunity to give my talent free reign after all, although success and popularity come at a price: a permanent address, responsibility, social status, are precisely the bugaboos I have abhorred all my life. 

Robert Adams
[Photographer and writer, b. 1937, Orange, New Jersey, lives in Astoria, Oregon.]

 Almost all photographers have incurred large expenses in the pursuit of tiny audiences, finding that the wonder they’d hoped to share is something few want to receive. 

Alfred Stieglitz
[Photographer and curator, b. 1864, Hoboken, New Jersey, d. 1946, New York.]

 I hate to look at the future and see myself as a dried up teacher of photography. (On being forced to earn money teaching at Columbia and the Brooklyn Museum, 1908) 

Subcommander Marcos (Rafael Sebastian Guillén Vicente)
[Professor and revolutionary, b. 1957, Tampico, Mexico, lives in Chiapas, Mexico.]

 For me it is clear that photography prizes should be for those being photographed and not for the photographers. 

Florence Thompson
[Migrant mother, b. 1904, Oklahoma, d. 1983, Scotts Valley, California.]

 I wish she [Dorothea Lange] hadn’t taken my picture. I can’t get a penny out of it. She didn’t ask my name. She said she wouldn’t sell the pictures. She said she’d send me a copy. She never did. (1978, on the 1936 photo of her titled Migrant Mother.) 

Mary Ellen Mark
[Photographer, b. 1940, Elkins Park, Pennsylvania, d. 2015, New York.]

 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. 
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