[Photographer, b. 1947, Gunma Prefecture, Japan, lives in Tokyo.]
I cannot stop [taking photographs of scars] because they are so much like a photograph… They are visible events, recorded in the past. Both the scars and the photographs are the manifestation of sorrow for the many things which cannot be retrieved...
[Photographer, b. 1928, New York, d. 1984, Tijuana, Mexico.]
Hopefully the picture will be more interesting than what I photograph.
[Photographer, b. 1917, San Francisco, d. 2015, Berkeley, California.]
So many people are diverted to doing what people want photographed—fashion models, buildings, mountains—they get to thinking those photographs are good.
[Photographer, b. 1931, Brooklyn, New York, lives in New York.]
On one hand you want to see your subject well. On the other hand, you want to be caught off guard to retain the spontaneity. If you know your subject too well you stop seeing it.
[Photographer, b. 1904, New York, d. 1971, Darien, Connecticut.]
Saturate yourself with your subject and the camera will all but take you by the hand.
[Photographer, b. 1904, Hamburg, Germany, d. 1983, London.]
See the subject first. Do not try to force it to be a picture of this, that or the other thing. Stand apart from it. Then something will happen.
[Photographer, b. 1946, Floral Park, Long Island, d. 1989, Boston, Massachusetts.]
I don’t think that there’s that much difference between a photograph of a fist up someone’s ass and a photograph of carnations in a bowl.
Man Ray (Emanuel Radnitsky)
[Artist, b. 1890, Philadelphia, Pennsylvania, d. 1976, Paris.]
I would photograph an idea rather than an object, a dream rather than an idea.