William Klein
[Photographer, b. 1928, New York, lives in Paris.]

 Sometimes, I’d take shots without aiming, just to see what happened. I’d rush into crowds—bang! bang! ... It must be close to what a fighter feels after jabbing and circling and getting hit, when suddenly there’s an opening, and bang! Right on the button. It’s a fantastic feeling. 

Gerhard Richter
[Artist, b. 1932, Dresden, lives in Düsseldorf.]

 Throwaway snapshots come closest to achieving the state of pure picture. 

Nikki S. Lee
[Photographer, b. 1970, Kye-Chang, Korea, lives in New York.]

 I don’t want to carry big things around with me. I’m lazy. The snapshot camera, you just carry it around and take the picture. You don’t need to think about anything. People in the street are not going to wait for you with a big camera. They would freak out. With a snapshot camera, they are comfortable. 

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

 Pictures should look like they were easily taken. 

George Bernard Shaw
[Writer, critic, and dramatist, b. 1856, Dublin, d. 1950, Ayot St. Lawrence, Hertfordshire, England.]

 I would willingly exchange every single painting of Christ for one snapshot. 

Martin Munkacsi
[Photographer, b. 1898, Kolozsvár, Hungary, (now Cluj-Napoca, Romania), d. 1963, New York.]

 Never pose your subjects. Let them move about naturally... All great photographs today are snapshots. (1935) 

Lisette Model
[Photographer, b. 1906, Vienna, Austria, d. 1983, New York.]

 The snapshot has no pretense or ambition. Innocence is the quintessence of the snapshot. I wish to distinguish between innocence and ignorance. Innocence is one of the highest forms of being and ignorance is one of the lowest. 

Janet Malcolm
[Writer, b. 1934, Prague, Czechoslovakia, lives in New York.]

 [In embracing snapshots,] the attributes previously sought by photographers—strong design, orderly composition, control over tonal values, lucidity of content, good print quality—have been stood on their heads, and the qualities now courted are formlessness, rawness, clutter, accident, and other manifestations of the camera’s formidable capacity for imposing disorder on reality... (1976) 
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