Jack Welpott
[Photographer, b. 1923, Kansas City, Missouri, d. 2007, Greenbrae, California.]

 Photography ruins marriages, and I’ve been married three times—so there’s a downside to it as well. 

Henry Holmes Smith
[Artist and teacher, b. 1909, Bloomington, Illinois, d. 1986, San Rafael, California.]

 I think control is the wrong word. I would put it this way. You see a lovely girl across a crowded room and you walk toward her with hope in your mind. That’s the way [my] pictures are made. 

Paul Outerbridge
[Photographer, b. 1896, New York, d. 1958, Laguna Beach, California.]

 If exposure of a nude body is thought to incite relations between the sexes, well, what of it. We want a large population anyway. 

Sally Mann
[Photographer, b. 1951, Lexington, Virginia, lives in Lexington.]

 The act of looking appraisingly at a man, studying his body and asking to photograph him, is a brazen venture for a woman; for a male photographer, these acts are commonplace, even expected. 

Margaret Bourke-White
[Photographer, b. 1904, New York, d. 1971, Darien, Connecticut.]

 Usually I object when someone makes overmuch of men’s work versus women’s work, for I think it is the excellence of the results which counts. 

Eve Arnold
[Photographer, b. 1913, Philadelphia, Pennsylvania, d. 2011, London.]

 Being a woman is just a marvelous plus in photographing. Men like to be photographed by women, it becomes flirtatious and fun, and women feel less as if they’re expected to be in a relationship. 

Pipilotti Rist
[Artist, b. 1962, Reinthal, Switzerland, lives in Zurich and Los Angeles.]

 Sexuality, eroticism and desire are important for all of us. But that is also the contradiction. How can we speak about pictures and, for example, say no to this way of representing a woman’s body? It’s also a camera-and-object problem, of who is really guiding the camera. 

Gertrude Käsebier
[Photographer, b. 1852, Fort Des Moines, Iowa, (now Des Moines), d. 1934, New York.]

 I earnestly advise women of artistic tastes to train for the unworked field of modern photography. It seems to be especially adapted to them, and the few who have entered it are meeting with gratifying and profitable success. (1898) 
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