Graciela Iturbide
[Photographer, b. 1942, Mexico City, lives in Coyoacán, Mexico.]
Wherever we go we want to find the theme we carry inside ourselves.
Minor White
[Photographer, writer, and theorist, b. 1908, Minneapolis, Minnesota, d. 1976, Cambridge, Massachusetts.]
Let the subject generate its own photographs. Become a camera.
Duane Michals
[Photographer, b. 1932, McKeesport, Pennsylvania, lives in New York.]
Everything is subject for photography, especially the difficult things of our lives: anxiety, childhood hurts, lust, nightmares. The things that cannot be seen are the most significant. They cannot be photographed, only suggested.
Margaret Bourke-White
[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.
Ken Domon
[Photographer, b. 1909, Sakata, Japan, d. 1990, Tokyo.]
We should pay attention to the screaming voice of the subject and simply operate the camera exactly according to its indications. When the camera is operated according to these indications, the direct connection between the camera and the subject appears before us.
Slim Aarons
[Photographer, b. 1916, New York, d. 2006, Montrose, New York.]
Photographing attractive people who were doing attractive things in attractive places.
(Summary of his photographic career)
Lee Friedlander
[Photographer, b. 1934, Aberdeen, Washington, lives in New York.]
I only wanted Uncle Vern standing by his new car (a Hudson) on a clear day. I got him and the car. I also got a bit of Aunt Mary’s laundry and Beau Jack, the dog, peeing on a fence, and a row of potted tuberous begonias on the porch and seventy-eight trees and a million pebbles in the driveway and more. It’s a generous medium, photography.
Walker Evans
[Photographer, b. 1903, St. Louis, Missouri, d. 1975, New Haven, Connecticut.]
A garbage can, occasionally, to me at least, can be beautiful. That’s because you’re seeing. Some people are able to see that—see it and feel it. I lean toward the enchantment, the visual power, of the esthetically rejected subject.
