Loretta Lux
[Photographer, b. 1969, Dresden, Germany, lives in Dublin, Ireland.]
[My subjects] look lost because that is how I see life. I think we are all a bit lost, lost in a world we can’t understand.
Neil Postman
[Writer and media critic, b. 1931, New York, d. 2003, Queens, New York.]
By itself photography cannot deal with the unseen, the remote, the internal, the abstract, it does not speak of “Man,” only of “a man”; not of “Tree,” only “a tree.”
Richard Prince
[Artist, b. 1949, Panama Canal Zone, lives in New York.]
I got a job in the tear-sheets department, ripping up magazines like People, Fortune, Sports Illustrated, and Time, and delivering the editorial pages.... So I began to use a camera to make fake photographs of the ads. By re-photographing a magazine page and then developing the film in a cheap lab, the photos came out very strange.
Stephen Shore
[Photographer, b. 1947, New York, lives in New York.]
To see something spectacular and recognize it as a photographic possibility is not making a very big leap. But to see something ordinary, something you’d see every day, and recognize it as a photographic possibility—that is what I am interested in.
Jay Maisel
[Photographer, b. 1931, Brooklyn, New York, lives in New York.]
I take pictures, and they are there for the taking. I’ll tell you a quote that I have always thought about. Arthur Miller said, “I try to create the poem from the evidence.”
Rondal Partridge
[Photographer, b. 1917, San Francisco, d. 2015, Berkeley, California.]
So many people are diverted to doing what people want photographed—fashion models, buildings, mountains—they get to thinking those photographs are good.
Ray Metzker
[Photographer, b. 1931, Milwaukee, Wisconsin, d. 2014, Philadelphia.]
I don’t need exotic places to be stimulated. Out of familiarity comes nuance. The more you revisit a subject the more you’re like to discover.
André Bazin
[Film critic and theorist, b. 1918, Angers, France, d. 1958, Nogent-sur-Marne, Île-de-France, France.]
All the arts are based on the presence of man, only photography derives an advantage from his absence.
