Anton Corbijn
[Photographer, b. 1955, Strijen, Netherlands, lives in London.]
I feel the imperfection is much closer to how life is than perfection.
Ralph Gibson
[Photographer, b. 1939, Los Angeles, California, lives in New York.]
I’m interested in producing truncated shapes in proportion to the frame and composition, shapes that are preferably luminous. I’m not interested in the full-figure. I want to abstract forms.
Gordon Matta-Clark
[Artist, b. 1942, New York, d. 1978, New York.]
I like the idea that the sacred photo framing process is equally “violatible” and I think that’s partly a carryover from the way I deal with structures to the way I deal with photography.
Aaron Siskind
[Photographer, b. 1903, New York, d. 1991, Providence, Rhode Island.]
I accept the flat picture surface as the primary frame of reference of the picture.
(1956)
Lola Alvarez Bravo
[Photographer, b. 1907, Lagos de Moreno, Jalisco, Mexico, d. 1993, Mexico City.]
If I came out a photographer it’s because I knew about painting, composition, and the handling of light.
Régis Durand
[Critic, writer, and curator, lives in Paris.]
I
know very well that there is off-screen space and manipulation in the photograph, but I want to believe
anyway that there is also truth.
Annie Leibovitz
[Photographer, b. 1949, Westbury, Connecticut, lives in New York.]
One doesn’t stop seeing. One doesn’t stop framing. It doesn’t turn off and turn on. It’s on all the time.
Yve Lomax
[Artist and theorist, b. 1952, Dorset, lives in London.]
I pick up a photographic image. I hold it with one hand, with the other hand I run my fingers around the edge. The border, the frame, appears complete. A perfect rectangle. I ask myself: if I tear this image or cut into and remove part of it, will its seeming completeness be broken, and broken, will this draw attention towards the way in which images and representations frame the world, frame us?
