Hilla Becher
[Photographer, b. 1934, Potsdam, d. 2015, Düsseldorf.]

 There are stillborn topics, where its apparent that the subject won't lead very far, because its not historically founded or is not anchored in the present or has been previously done. Think of the Cindy Sherman syndrome. 

Ansel Adams
[Photographer, b. 1902, San Francisco, d. 1984, Carmel, California.]

 Those people live again in print as intensely as when their images were captured on the old dry plates of sixty years ago... I am walking in their alleys, standing in their rooms and sheds and workshops, looking in and out of their windows. And they in turn seem to be aware of me. (On photographs by Jacob Riis) 

Lee Friedlander
[Photographer, b. 1934, Aberdeen, Washington, lives in New York.]

 [Garry Winogrand] was a bull of a man and the world his china shop. 

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. 

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. 

Walker Evans
[Photographer, b. 1903, St. Louis, Missouri, d. 1975, New Haven, Connecticut.]

 Deft, witty, spanking little poems of hate. (Describing photographs by Lee Friedlander) 

Richard Prince
[Artist, b. 1949, Panama Canal Zone, lives in New York.]

 I wish I had met [Francesca] Woodman forty years ago. It would have been great to live with her for a year. She didn’t save anything. She played the camera like a new guitar. She murdered herself out taking pictures... 

Elliott Erwitt
[Photographer, b. 1928, Paris, France, lives in New York.]

 Quality doesn’t mean deep blacks and whatever tonal range. That’s not quality, that’s a kind of quality. The pictures of Robert Frank might strike someone as being sloppy—the tone range isn’t right and things like that—but they’re far superior to the pictures of Ansel Adams with regard to quality, because the quality of Ansel Adams, if I may say so, is essentially the quality of a postcard. But the quality of Robert Frank is a quality that has something to do with what he’s doing, what his mind is. It’s not balancing out the sky to the sand and so forth. It’s got to do with intention. 
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