[Artist, designer, architect, b. 1891, St. Petersburg, d. 1956, Moscow.]
Don’t try to capture a man in one synthetic portrait, but rather in lots of snapshots taken at different times and in different circumstances!
[Photographer, b. 1949, Los Angeles, lives in Los Angeles.]
Why differentiate between sculpture, painting, and performance when it’s all going to end up as a photograph anyway?
[Photographer, b. 1953, Maywood, California, lives in California.]
Pictures you have taken have an influence on those that you are going to make. That’s life!
[Model and actress, b. 1970, Streatham, South London, England, lives in New York.]
I trust pictures, but no pictures made in my world—because I know what goes on.
[Photographer, b. 1928, New York, lives in Paris.]
So who can pin down photography? We’re drunk with images. [Sontag’s] sick of it. I’m sick of it. But we’re moved by old amateur photographs because they aren’t concerned about theories of photography or what a picture must be. They’re just photographs without rules or dogma.
[Photographer, b. 1929, Brooklyn, New York, d. 2013, New York.]
She was so beautiful at that time. I didn’t say, “Pose nude.” It was more one thing leading to another: You take clothes off and off and off and off and off. (On his June 1962 photo shoot with Marilyn Monroe.)
[Photographer, b. 1956, Stafford, England, lives in New York.]
The “decisive moment” is bullshit. There are ten pictures before and ten pictures after every one of them: [Henri Cartier-Bresson] actually took thirty pictures of people leaping over that puddle.
[Writer, b. 1923, Long Branch, New Jersey, d. 2007, New York.]
Giving a camera to Diane Arbus is like putting a live grenade in the hands of a child.