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

 Recently I did a picture—I’ve had this experience before—and I made rough prints of a number of them. There was something wrong in all of them. I felt I’d sort of missed it and I figured I’d go back. But there was one that was just totally peculiar. It was a terrible dodo of a picture. It looks to me a little as if the lady’s husband took it. It’s terribly head-on and sort of ugly and there’s something terrific about it. I’ve gotten to like it better and better and now I’m secretly sort of nutty about it. 

Barbara Ess
[Photographer, b. 1948, Brooklyn, New York, lives in New York.]

 My camera distorts and I like that—I like distortion in music too because it loosens things up. (On her pinhole camera) 

William Klein
[Photographer, b. 1928, New York, lives in Paris.]

 I had neither training nor complexes. By necessity and choice, I decided that anything would have to go. A technique of no taboos: blur, grain, contrast, cock-eyed framing, accidents, whatever happens. 

Sally Mann
[Photographer, b. 1951, Lexington, Virginia, lives in Lexington.]

 Stop trying to get it right. Just take the picture. 

Cecil Beaton
[Photographer, b. 1904, London, d. 1980, Broad Chalke, Wiltshire, Great Britain.]

 I want to make photographs of very elegant women taking the lipstick off their teeth. 

Boris Mikhailov
[Photographer, b. 1938, Kharkov, Ukraine, lives in Kharkov and Berlin.]

 I was always against good technique because it didn’t work with Soviet life. Good quality equals foreign life. 

Robert Mapplethorpe
[Photographer, b. 1946, Floral Park, Long Island, d. 1989, Boston, Massachusetts.]

 Perfection means you don’t question anything about the photograph. 

Robert Frank
[Photographer and filmmaker, b. 1924, Zürich, Switzerland, lives in Mabou, Cape Breton, Nova Scotia, Canada, and New York.]

 I prefer to work on the edge, not the middle of the road. I am looking for chaos. 
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