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. 
 A meaningful conceptual basis is always more important than vivid photographs, and vice versa. 
 Photography seems to fix, but this is an illusion created by our short lives. A photograph is merely a note held for 200 years. 
 To teach consequential photography, don’t bother with Photoshop or f-stops. Create a craving for images. 
 Photographs should celebrate the contingent, the spontaneous, the incomplete, the fortuitous. Direct, unblinking vision should be coupled with deliberate indifference as to subject. The ironic goal is a scrupulous recording of whatever chance brings to hand. 
 Time past cannot be stopped, saved, or regained. But a photograph allows you to borrow it. 
 Images are the currency of our age, but it’s a toss-up whether we live in a time of abundance or debasement. 
 It is not the task of photography to depict the world. Photography concerns what we can say about the world. 
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