Marc Riboud
[Photographer, b. 1923, St.-Genis-Laval, France, d. 2016, Paris.]

 The target of our line of sight is reality, but our framing can transform it into a dream. 

George Rodger
[Photojournalist, b. 1908, Hale, Cheshire, England, d. 1995, Smarden, Kent, England.]

 When I discovered that I could look at the horror of Belsen—4,000 dead and starving lying around—and think only of a nice photographic composition, I knew something had happened to me and it had to stop. 

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. 

John Baldessari
[Artist, b. 1931, National City, California, lives in Venice, California.]

 Probably one of the worst things to happen to photography is that cameras have viewfinders. 

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

 A photograph has edges, the world does not. 

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. 

Berenice Abbott
[Photographer, writer, teacher, b. 1898, Springfield, Ohio, d. 1991, Monson, Maine.]

 [Composition is] as closely tied up with the body of the picture as veins and muscles are articulated with the human body. 

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

 When you see a picture, you don’t see outside the frame. 
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