Jack Welpott
[Photographer, b. 1923, Kansas City, Missouri, d. 2007, Greenbrae, California.]

 I am still struck by the power of photography to strip away the bark of the mind and reveal the visceral workings underneath. 

Edward Weston
[Photographer, b. 1886, Highland Park, Illinois, d. 1958, Wildcat Hill, California.]

 To see the Thing itself is essential: the quintessence revealed direct without the fog of impressionism... This then: to photograph a rock, have it look like a rock, but be more than a rock. Significant presentation—not interpretation. 

Duane Michals
[Photographer, b. 1932, McKeesport, Pennsylvania, lives in New York.]

 Photography deals exquisitely with appearances, but nothing is what it appears to be. 

Shimon Attie
[Photographer, b. 1957, Los Angeles, lives in New York.]

 I think of my work as a kind of peeling back of the wallpaper of today to reveal the histories buried underneath. 

Brassaï (Gyula Halász)
[Photographer, b. 1889, Brassó, Transylvania, Hungary (now Romania), d. 1984, Eze, Alpes-Maritimes, France.]

 What attracts the photographer is precisely the chance to penetrate inside phenomena, to uncover forms... He pursues them into their last refuges and surprises them at their most positive, their most material and true. 

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) 

Richard Avedon
[Photographer, b. 1923, New York, d. 2004, San Antonio, Texas.]

 The point is that you can’t get at the thing itself, the real nature of the sitter, by stripping away the surface. The surface is all you’ve got. You can only get beyond the surface by working with the surface. All that you can do is manipulate that surface—gesture, costume, expression—radically and correctly. 
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