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

 I went on to Flickr and it was just thousands of pieces of shit, and I just couldn’t believe it. And it’s just all conventional, it’s all cliches, it’s just one visual convention after another. 

Jean Baudrillard
[Writer and theorist, b. 1929, Reims, France, d. 2007, Paris.]

 You think you photograph a particular scene for the pleasure it gives. In fact it’s the scene that wants to be photographed. You’re merely an extra in the production. 

Thomas Ruff
[Photographer, b. 1958, Zell, Germany, lives in Dusseldorf, Germany.]

 I’ve been interested in the genre of nude photography for a long time. What I find altogether boring is contemporary nude photography of the kind currently carried on by fashion photographers, who take supposedly interesting photographs of pretty models in some pleasant ambience. That’s something for adolescent 13-year-old Max readers. I’m 41, and when I’m naked I’m either lying in the tub or in bed with my girlfriend. My nude photographs are intended to be somewhat “more adult.” 

Don DeLillo
[Writer, b. 1936, New York, lives in New York.]

 We’re not here to capture an image. We’re here to maintain one. (On photographers shooting “the most photographed barn in America.”) 

John Szarkowski
[Curator, critic, historian, and photographer, b. 1925, Ashland, Wisconsin, d. 2007, Pittsfield, Massachusetts.]

 What’s happening is that people are making a billion photographs a year of their cats, frequently with the cats wearing costumes. Do you think I should be doing shows of cat photography? 

Edward Weston
[Photographer, b. 1886, Highland Park, Illinois, d. 1958, Wildcat Hill, California.]

 When subject matter is forced to fit into preconceived patterns, there can be no freshness of vision. Following rules of composition can only lead to a tedious repetition of pictorial clichés. 

Robert Adams
[Photographer and writer, b. 1937, Orange, New Jersey, lives in Astoria, Oregon.]

 If the dead end of the romantic vision is incoherence, the failure of classicism, which is the outlook I am defending, is the cliché, the ten thousandth camera-club imitation of a picture by Ansel Adams. 

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

 It seems to me that while it is very important to get a striking picture of a line of smoke stacks or a row of dynamos, it is becoming more and more important to reflect that life that goes on behind these photographs. (1935) 
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