Dennis Oppenheim
[Artist, b. 1938, Electric City, Washington, d. 2011, New York.]

 The photograph gives constant reference to the rectangle. This forces any idea into the confines of pictorial illusionism. 

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. 

Abbas (Abbas Attar)
[Photographer, b. 1944, Iran, lives in Paris.]

 I am among the generation of photographers who believe a picture is sacred, that once you took take it, that’s it: you don’t crop it, you don’t touch it, you don’t fool around with it. 

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

 [The snapshooter’s] pictures have an apparent disorder and imperfection, which is exactly their appeal and their style. The picture isn’t straight. It isn’t done well. It isn’t composed. It isn’t thought out. And out of this imbalance, and out of this not knowing, and out of this real innocence toward the medium comes an enormous vitality and expression of life. 

Henri Cartier-Bresson
[Photographer and painter, b. 1908, Chanteloup, France, d. 2004, Paris.]

 There is a lot of talk about camera angles; the only valid angles in existence are the angles of the geometry of composition and not the ones fabricated by the photographer who falls flat on his stomach or who performs other antics to procure his effects. 

Diane Arbus
[Photographer, b. 1923, New York, d. 1971, New York.]

 I don’t know what good composition is... Sometimes for me composition has to do with a certain brightness or a certain coming to restness and other times it has to do with funny mistakes. There’s a kind of rightness and wrongness and sometimes I like rightness and sometimes I like wrongness. 

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

 I’ve always assumed that the abstract qualities of [my] photographs are obvious. For instance, I can turn them upside down and they’re still interesting to me as pictures. If you turn a picture that’s not well organized upside down, it won’t work. 

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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