Jeff Wall
[Photographer, b. 1946, Vancouver, Canada, lives in Vancouver.]

 ...electronic image traffic has become present in the relation between the photographer and the picture he or she sees in a viewfinder. 

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

 Your photography is a record of your living, for anyone who really sees. You may see and be affected by other people’s ways, you may even use them to find your own, but you will eventually have to free yourself of them. That is what Nietzsche meant when he said, “I have just read Schopenhauer, now I have to get rid of him.” He knew how insidious other people’s ways could be, particularly those which have the forcefulness of profound experience, if you let them get between you and your own vision. 

Garry Winogrand
[Photographer, b. 1928, New York, d. 1984, Tijuana, Mexico.]

 We know too much about how photographs look... It is natural to make those pictures we know. It’s boring, you don’t learn anything that way. You keep making what you know. 

David Hockney
[Artist, b. 1937, Bradford, England, lives in Bridlington, Yorkshire; London; and Los Angeles.]

 I came to Los Angeles for two reasons: The first was a photo by Julius Shulman of Case Study House #21, and the other was [Atheletic Model Guildʼs]ʼs Physique Pictorial. 

Larry Clark
[Photographer and filmmaker, b. 1943, Tulsa, Oklahoma, lives in New York.]

 [Eugene Smith] was always writing these diatribes about truth, and how he wanted to tell the truth, the truth, the truth. It was a real rebel position. It was kind of like a teenager’s position: why can’t things be like they should be? Why can’t I do what I want? I latched on to that philosophy. One day I snapped, hey, you know, I know a story that no one’s ever told, never seen, and I’ve lived it. It’s my own story and my friends’ story. 

Platon (Platon Rivellis)
[Photographer, b. 1968, London, lives in New York.]

 When I graduated from college, I was working for gritty magazines with no budget and we were reacting against the gloss of the American photographers, where everything was very glamorous and everything was perfectly retouched. Growing up in London, it was always raining, we were very poor, we never saw any celebrities. So I started shooting that way. 

Bettina Rheims
[Photographer, b. 1952, Neuilly-sur-Seine, France, lives in Paris.]

 I think that I first started to shoot naked women because I wanted my father to look at my images and father liked very pretty women. 

Larry Clark
[Photographer and filmmaker, b. 1943, Tulsa, Oklahoma, lives in New York.]

 ...I didn’t know what other people were doing because I was working in a vacuum—just me. I wasn’t looking at art. I wasn’t not looking at anything. 
I made a point not to look at anything because I was afraid that I’d be influenced. 
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