Tom Wolfe
[Writer, b. 1930, Richmond, Virginia, d. 2018, New York.]

 Suddenly there is magic in such items... as random and eccentric framing, blurred images, keeling horizons, distorted scale, unreal colors (puce waters, chartreuse skies), grotesque foreshortening... and nightclub photo lighting with its flash overexposures and clotted shadows and inexplicable detail and tilted walls and stray items—arms, legs, shoes, cloven bottoms, anorexic elbows—appearing in an amputated condition about the edges... Once regarded as technical limitation of the medium, as annoyances to be overcome by professional expertise, they now become like animae, tree spirits, to be treated with reverence and looked to for guidance. 

Susan Meiselas
[Photographer, b. 1948, Baltimore, Maryland, lives in New York.]

 We know photographers make frames, but we deeply believe they can also create frameworks. 

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) 

Douglas Coupland
[Writer, b. 1961, Baden-Söllingen, Germany, lives in Vancouver, Canada.]

 When you crop the photo, you tell a lie. 

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

 Over and over again the photographer walks a few steps and peers, rather comically, into the camera; to the exasperation of family and friends, he inventories what seems an endless number of angles; he explains, if asked, that he is trying for effective composition, but hesitates to define it. What he means is that a photographer wants form, an unarguably right relationship of shapes, a visual stability in which all components are equally important. The photographer hopes, in brief, to discover a tension so exact that it is peace. 

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

 Every photograph is a battle of form versus content. The good ones are on the border of failure. 

Errol Morris
[Documentary filmmaker, b. 1948, Hewlett, New York, lives in Cambridge, Massachusetts.]

 Quite often photographs gain power from what is omitted from the frame rather than from what is included. 

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

 Photographers have to impose order, bring structure to what they photograph. It is inevitable. A photograph without structure is like a sentence without grammar—it is incomprehensible, even inconceivable. 
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