Alec Soth
[Photographer, b. 1969, Minneapolis, Minnesota, lives in Saint Paul, Minnesota.]

 Photography, for me, is a lot like web surfing in real life. 
 There’s a kind of beautiful loneliness in voyeurism. And that’s why I’m a photographer. 
 In a world where the 2 billionth photograph has been uploaded to Flickr, which looks like an Eggleston picture! How do you deal with making photographs with the tens of thousands of photographs being uploaded to Facebook every second, how do you manage that? How do you contribute to that? What’s the point? 
 Whether you are Minor White or Robert Frank, almost every photograph starts with an act of pure description—a window. But every now and then you catch a glimpse of the photographer’s reflection. The mirror is just another function of the window. 
 [Photography is] very related to poetry. It’s suggestive and fragmentary and unsatisfying in a lot of ways. It’s as much about what you leave out as what you put in. 
 It’s a weird combination that makes a great picture. It’s a complete mystery to me. 
 Whether you are Minor White or Robert Frank, almost every photograph starts with an act of pure description—a window. But every now and then you catch a glimpse of the photographer’s reflection. The mirror is just another function of the window. 
 Photography is a language. To communicate, you need to learn the language. The history of photography is like the vocabulary and influence is like a dialect. One shouldn’t be embarrassed about having an accent. 
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