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

 [Photography] is not cute cats, nor nudes, motherhood, or arrangements of manufactured products. Under no circumstances is it anything ever anywhere near a beach. 
 With the camera, it’s all or nothing. You either get what you’re after at once, or what you do has to be worthless. 
 A garbage can, occasionally, to me at least, can be beautiful. That’s because you’re seeing. Some people are able to see that—see it and feel it. I lean toward the enchantment, the visual power, of the esthetically rejected subject. 
 Stare. It is the way to educate your eye, and more. Stare, pry, listen, eavesdrop. Die knowing something. You are not here long. 
 It’s too presumptuous and naïve to think you can change society by a photograph or anything else... I equate that with propaganda; I think that’s a lower rank of purpose. 
 The secret of photography is, the camera takes on the character and personality of the handler. 
 ...nature photographs downright bore me for some reason or other. I think: “Oh, yes. Look at that sand dune. What of it?” 
 I work rather blindly. I have a theory that seems to work with me that some of the best things you ever do sort of come through you. You don’t know where you get the impetus and response to what’s before your eyes. 
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