Lewis Baltz
[Photographer, b. 1945, Newport Beach, California, d. 2014, Paris.]

 I think being a photographer is a little like being a whore: if you’re really really good at it, nobody will call you that. 
 Photographs no longer provoke a meditation upon external phenomena, but on the conditions of their own existence. 
 …the questioning of the photograph in its relation to the reality, the interrogation of representation, the famous crisis of representation, really all took place before digital technology. Digital technology, you see, is not the villain here. (1998) 
 If you read what, say, Weston was writing in the 1920s he talked about an industrial medium, reflective surfaces, contemporary subject matter—it’s a straighter line to [Ed] Ruscha’s 26 Gas Stations than it would ever be to Ansel Adam’s pictures of Yosemite and their kitschy calendar sensibility. 
 ...you don’t put an object in a museum because it’s beautiful; an object is beautiful because you put it in a museum. Everything is photogenic once it has been photographed. 
 It might be more useful, if not necessarily more true, to think of photography as a narrow, deep area between the novel and film. 
 The world was already in the condition of art, waiting to be noticed as such. As Robert Irwin famously said, “I feel like a man sitting beside a river selling water.” 
 I never had any profound loyalty to the idea of photography as a medium but simply as the most efficient way of making or recording an image. 
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