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

 A lot of it’s experimental, spontaneous. It’s about knocking about in the studio and bumping into things. 

Herb Ritts
[Photographer, b. 1952, Los Angeles, d. 2002, Los Angeles.]

 To me it’s just going for the moment that counts. Sometimes, I’ll have all the elements there, and I like to play and push something, and to me, in the end, you do achieve things that you’re not aware of in the beginning, even though you’re there trying to get them. 

Chip Simons
[Photographer, b. 1958, Ohio, lives in Bosque Farms, New Mexico.]

 One way to keep growing is to make mistakes. Sometimes I’ll take fifty pictures a night, working through all these crazy ideas, running into stuff I never could have predicted. I’m making all kinds of great mistakes, and, I think, that’s so funny how this happened. If you just go out and take a lot of pictures, you learn and you grow. Accidents happen. 

Douglas McCulloh
[Photographer, b. 1959, Los Angeles, lives in Los Angeles.]

 Photography has a natural affinity for the strategies of surrealism—the exaltation of chance and eros, the exploration of obsession and the release of the unconscious. 

Vladimir Nabokov
[Writer, b. 1899, St. Petersburg, Russia, d. 1977, Montreux, Switzerland.]

 And by the striped man
directed at the sunny sand
blinked with a click of its black eyelid
the camera’s ocellus.

That bit of film imprinted
all it could catch,
the stirless child,
his radiant mother,

and a toy pail and two beach spades,
and some way off a bank of sand,
and I, the accidental spy,
I in the background have also been taken.

Next winter, in an unknown house,
grandmother will be shown an album,
and in that album there will be a snapshot,
and in that snapshot I shall be.

My likeness among strangers,
one of my August days,
my shade they never noticed,
my shade they stole in vain.

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

 My limitations or mistakes become a kind of freedom. Like when I photographed black-and-white pictures with color film, as I did in Three Women Looking in the Same Direction. Or when I inadvertently overexposed the film and got a bleached-out look, which happened in a recent “gang” called Live Free or Die. These mistakes always happen because I’m not a photographer. Practicing without a license is the way it’s been referred to. 

Rinko Kawauchi
[Photographer, b. 1972, Shiga, Japan, lives in Kanagawa, Japan.]

 For a photographer, it’s a necessity that you can shoot stuff magically. Accidents are necessary, but after I take the photograph, it’s not over. I work on it more. 

Henri Cartier-Bresson
[Photographer and painter, b. 1908, Chanteloup, France, d. 2004, Paris.]

 Sometimes the pictures disappear and there’s nothing you can do. You can’t tell the person, “Oh, please smile again. Do that gesture again.” Life is once, forever. 
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