Cindy Sherman
[Artist, b. 1954, Glen Ridge, New Jersey, lives in New York.]

 I didn’t care much about the print quality. The photographs were supposed to look like they cost fifty cents. 

Paul Caponigro
[Photographer, b. 1932, Boston, Massachusetts, lives in Cushing, Maine.]

 I don’t trust any camera you can’t make out of wood. 

Saul Leiter
[Photographer, b. 1923, Pittsburgh, Pennsylvania, d. 2013, New York.]

 If I’d only known which [photographs] would be very good and liked, I wouldn’t have had to do all the thousands of others. 

Martin Parr
[Photographer, b. 1952, Epson, Surrey, England, lives in Bristol and London, England.]

 When I first started learning how to take photographs, you had to spend the first six months figuring out what an f-stop was. Now you just go and take pictures. Nobody thinks about technical issues anymore because cameras or camera phones take care of that automatically. 

Kyoichi Sawada
[Photographer, b. 1936, Aomori City, Aomori Prefecture, Japan, d. 1970, Cambodia.]

 If you’re there, you get good photographs. 

W. Eugene Smith
[Photographer, b. 1918, Wichita, Kansas, d. 1978, Tucson, Arizona.]

 In printing the photographs of the white-gowned Klan members I ran into considerable difficulty. There were several with uncovered faces and these faces were vividly dark in comparison to the white-white of the gowns that it was almost impossible to keep them from appearing black. I am terribly sorry. (Apology to his editor about images from his 1951 photo essay on the Ku Klux Klan in North Carolina.)  

John Baldessari
[Artist, b. 1931, National City, California, lives in Venice, California.]

 What got me interested in found imagery was that it was not considered art, but just imagery, and I began dumpster diving in photo shops. 

A.D. Coleman
[Critic and writer, b. 1943, New York, lives in New York.]

 Any photographer worth his/her salt—that is, any photographer of professional caliber, in control of the craft, regardless of imagistic bent—can make virtually anything “look good.” Which means, of course, that she or he can make virtually anything “look bad”—or look just about any way at all. After all, that is the real work of photography: making things look, deciding how a thing is to appear in the image. 
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