Adam Fuss
[Photographer, b. 1961, London, lives in New York.]

 An echo is a good way to describe the photogram, which is a visual echo of the real object. That's why I like to work with the photogram, because the contact with what is represented is actual. It's as if the border between the world and the print is osmotic. 

Alvin Langdon Coburn
[Photographer, b. 1882, Boston, Massachusetts, d. 1966, Wales.]

 Why, I ask you earnestly, need we go on making commonplace little exposures that may be sorted into groups of landscapes, portraits and figure studies? Think of the joy of doing something which it would be impossible to tell which was top and which was the bottom!... I do not think we have begun even to realize the possibilities of the camera. (1916) 

Ed Ruscha
[Artist, b. 1937, Omaha, Nebraska, lives in Los Angeles.]

 Unfortunately, there was no Jackson Pollock of the camera. 

Thomas Ruff
[Photographer, b. 1958, Zell, Germany, lives in Dusseldorf, Germany.]

 I used to say that the picture has an autonomous existence apart from what it represents, or that it acquires a life of its own. Maybe when I said that, I meant thinking about how you make pictures, but the reality is still there anyway because there really was someone sitting in front of the camera when the picture was taken. So now, do we have autonomy? 

Edward Weston
[Photographer, b. 1886, Highland Park, Illinois, d. 1958, Wildcat Hill, California.]

 An idea just as abstract as could be conceived by sculptor or painter can be expressed through “objective” recording with the camera, because nature has everything that can possibly be imagined by the artist: and the camera, controlled by wisdom, goes beyond statistics. 
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