Edward Curtis
[Photographer and ethnographer, b. 1868, Whitewater, Wisconsin, d. 1952, Los Angeles.]

 I devoted thirty-three years to gathering text material and pictures for [The North American Indian]. I did this as a contribution; without salary, direct or indirect financial returns. When I was done with the last volume, I did not possess enough money to buy a ham sandwich; yet the books will remain the outstanding story of the Indian. (1937) 

Weegee (Usher Fellig)
[Photographer, b. 1899, Zlothew near Lemberg, Austrian Galicia (now Zolochiv, Ukraine), d. 1968, New York.]

 If I had a picture of two handcuffed criminals being booked, I would cut the picture in half and get five bucks for each. 

Paul Strand
[Photographer, b. 1890, New York, d. 1976, Oregeval, France.]

 If Ansel Adams gets a thousand dollars a print, I want ten thousand. 

Richard Prince
[Artist, b. 1949, Panama Canal Zone, lives in New York.]

 Advertising images aren’t associated with an author. It’s as if their presence were complete—classical in fact. They are too good to be true. They look like they have no history to them—like they showed up all at once. They look like what art always wants to look like. 

Brett Weston
[Photographer, b. 1911, Los Angeles, d. 1993, Kona, Hawaii.]

 Of course, we were not promoters, we Westons, let’s face it. Dad had only $300 in the bank at the end, that’s all he had. 

Albert Sands Southworth
[Photographer, b. 1811, West Fairlee, Vermont, d. 1894, Charlestown, Massachusetts.]

 Into the practice of no other business or art was there ever such an absurd, blind, and pell-mell rush. From the accustomed labours of agriculture and machine shop, from the factory and counter, from the restaurant, coachbox, and forecastle, representatives have appeared to perform the work for which a life apprenticeship could hardly be sufficient for preparation... 

Robert Adams
[Photographer and writer, b. 1937, Orange, New Jersey, lives in Astoria, Oregon.]

 Part of the difficulty in trying to be both an artist and a businessperson is this: You make a picture because you have seen something beyond price; then you are to turn and assign to your record of it a cash value. If the selling is not necessarily a contradiction of the truth in the picture, it is so close to being a contradiction—and the truth is always in shades of gray—that you are worn down by the threat. 

Cindy Sherman
[Artist, b. 1954, Glen Ridge, New Jersey, lives in New York.]

 One reason I was interested in photography was to get away from the preciousness of the art object. 
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