Wim Wenders
[Artist and filmmaker, b. 1945, Düsseldorf, lives in Berlin.]

 Images are no longer what they used to be. They can’t be trusted any more. We all know that. You know that. When we grew up, images were telling stories and showing them. Now they’re all into selling. They’ve changed under our very eyes. They don’t even know how to do it anymore. They’ve plain forgotten. Images are selling out the world. And at a big discount. 

Walker Evans
[Photographer, b. 1903, St. Louis, Missouri, d. 1975, New Haven, Connecticut.]

 I do note that photography, a despised medium to work in, is full of empty phonies and worthless commercial people. That presents quite a challenge to the man who can take delight in being in a very difficult, disdained medium. 

Athol Fugard
[Playright, b. 1932, Middelburg, South Africa, lives in San Diego, California and South Africa.]

 You call that work? Click-click with a camera. Are you mad? 

Stephen Shore
[Photographer, b. 1947, New York, lives in New York.]

 I meet young artists and it becomes clear that with some the main motivation is getting a show in Chelsea. It strikes me that this is very different to the way it was for me, which was that I wanted to understand photography and the world and myself. 

Philip Jones Griffiths
[Photojournalist, b. 1936, Rhuddian, Wales, d. 2008, London.]

 When Bill Gates started Corbis we were told that he needed images to fill those “digital picture frames” in his home, and many found this plausible. But now it’s pretty clear that he’s set out to control the visual history of the twentieth century. 

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

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

Henri Cartier-Bresson
[Photographer and painter, b. 1908, Chanteloup, France, d. 2004, Paris.]

 ...the danger is that photography might become very precious — “Oh, a very rare print.” There’s not a very real place for it. But what does it mean? That preciousness is a sickness. Why do photographers start giving numbers to their prints? It’s absurd. What do you do when the 20th print has been done? Do you swallow the negative? Do you shoot yourself? It’s the gimmick of money. 

Bill Cunningham
[Fashion photographer, b. 1929, Boston, Massachusetts, d. 2016, New York.]

 You see, if you don’t take money, they can’t tell you what to do, kid. That’s the key to the whole thing. Don’t touch money. 
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