Robert Rauschenberg
[Artist, b. 1925, Port Arthur, Texas, d. 2008, Captiva Island, Florida.]
You wait until life is in the frame, then you have the permission to click. I like the adventure of waiting until the whole frame is full.
Rosalind Krauss
[Writer, critic, and historian, b. 1941, Washington, D.C., lives in New York.]
Photographic cropping is always experienced as a rupture in the continuous fabric of reality.
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.
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.
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.
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.
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.
Ernst Haas
[Photographer, b. 1921, Vienna, Austria, d. 1986, New York City.]
My theory of composition? Simple: do not release the shutter until everything in the viewfinder feels just right.
