David Douglas Duncan
[Photojournalist, b. 1916, Kansas City, Missouri, lives in Mougins, France.]

 It’s very simple... this banging around with a camera and typewriter as a “business” is just one helluva lot of fun. 

Imogen Cunningham
[Photographer, b. 1883, Portland, d. 1976, San Francisco.]

 You know, a documentary is only interesting once in a while. If you look at a whole book of Dorothea [Lange]’s where she has row after row of people bending over and digging out carrots—that can be very tedious. And so it’s only once in a while that something happens that is worth doing. 

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

 Reportage, or the spontaneous, fleeting aspect of the photographic image, appear simultaneously with the pictorial, tableau-like aspect at the origins of photography; its traces can be seen in the blurred elements of Daguerre’s first scenes. Reportage evolves in the pursuit of the blurred parts of the pictures. 

Pieter Hugo
[Photographer, b. 1976, Johannesburg, South Africa, lives in Cape Town.]

 I’m interested in photography because it sits somewhere between document and art. 

William Eggleston
[Photographer, b. 1939, Memphis, Tennessee, lives in Memphis.]

 I don’t have a burning desire to go out and document anything. It just happens when it happens. It’s not a conscious effort, nor is it a struggle. Wouldn’t do it if it was. The idea of the suffering artist has never appealed to me. Being here is suffering enough. 

André Kertész
[Photographer, b. 1894, Budapest, Hungary, d. 1985, New York.]

 You do not have to imagine things; reality gives you all you need. 

Paul Graham
[Photographer, b. 1956, Stafford, England, lives in New York.]

 The problem is that the term “documentary” is used to describe nearly every photographer who works from life-as-it-is. If someone makes food with vegetables from their garden, are they doing documentary cooking? 

John Tagg
[Writer, theorist, and photohistorian, b. 1949, North Shields, England, lives in Ithica, New York.]

 [“Documentary” photography’s] unlikely and paradoxical mixture of social and psychological “truths,” exotic voyeurism, fetishised artistic subjectivity, and formalist claims to universality, which may once have appeared mutually enhancing, was contradictory and inherently unstable. 
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