Brian Duffy
[Photographer, b. 1933, London, d. 2010, London.]

 I went into a burning mode. I felt everything I had to do and say in photography had been done. [Irving Penn and Richard Avedon] fucked photography for us... They got there. (1979, On giving up photography and burning all his negatives)  

Marion Post Wolcott
[Photographer, b. 1910, Bloomfield, New Jersey, d. 1990, Santa Barbara, California.]

 When I took the FSA job, I already had battle scars. I had weathered... the first weeks as a female full-time staff photographer on the Philadelphia Evening Bulletin... The ten male photographers with whom I was to work, immediately put out their cigarette butts in my developer, spit in and hypoed it, probably peed in it; threw spit balls into my cubby-hole darkroom until my aim and speed became better than theirs. Finally, I exploded—telling them I was there to stay... That did it; we reached a truce... soon each one confidentially telling me that the others were wolves and he was going to be my protector. 

John Szarkowski
[Curator, critic, historian, and photographer, b. 1925, Ashland, Wisconsin, d. 2007, Pittsfield, Massachusetts.]

 The whole company of Arbus imitators, in the years after her death, thought they could do what she had done by using the camera simply and directly. Unfortunately, they were simple and direct people, whereas she was complex and patient. 

Imogen Cunningham
[Photographer, b. 1883, Portland, d. 1976, San Francisco.]

 You know, a documentary is only interesting once in a while. If you look at a whole book of Dorothea [Lange]’s where she has row after row of people bending over and digging out carrots—that can be very tedious. And so it’s only once in a while that something happens that is worth doing. 

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

 Many photographers in fact remind me in temperament of Thomas Hart Benton; in addition to painting, he said, what he liked was to “drink whiskey and talk big.” 

Paul Graham
[Photographer, b. 1956, Stafford, England, lives in New York.]

 The “decisive moment” is bullshit. There are ten pictures before and ten pictures after every one of them: [Henri Cartier-Bresson] actually took thirty pictures of people leaping over that puddle. 

Joan Fontcuberta
[Photographer, b. 1955, Barcelona, lives in Barcelona.]

 I need there to be documentary photographers, because my work is meta-documentary; it is a commentary about the documentary use of photography. 

Richard Avedon
[Photographer, b. 1923, New York, d. 2004, San Antonio, Texas.]

 Nothing about [Diane Arbus’s] life, her photographs, or her death was accidental or ordinary. They were mysterious and decisive and unimaginable, except to her. Which is the way it is with genius. 
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