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

 I am not ghoulish, am I? It wouldn’t anyway have been better to turn away, would it? 

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

 I was very consciously trying to do the opposite of what Cartier-Bresson was doing. He did pictures without intervening. He was like the invisible camera. I wanted to be visible in the biggest way possible. (On his photography in the early 1950s) 

James Nachtwey
[Photographer, b. 1948, Syracuse, New York, lives in New York.]

 When I approach people, I do it with respect, with deference; I do it slowly and gently and I think about the way I move, the way I speak and the way I use the camera. I let them know that I respect them and what they’re going through. 

Nan Goldin
[Photographer, b. 1953, Washington, D.C., lives in New York and Paris.]

 For me it is not a detachment to take a picture. It’s a way of touching somebody—it’s a caress.... I think that you can actually give people access to their own soul. 

Juergen Teller
[Photographer, b. 1964, Erlangen, Germany, lives in London.]

 I don’t like taking a sly picture on the side. I like the direct approach. I want to be as honest to myself and the subject as possible. And I’m depending on their humanness to come through. 

Martha Rosler
[Artist, b. 1943, Brooklyn, New York, lives in New York.]

 Just going out on a foray to assemble a collection of street trophies about this or that running social sore can’t be effective—and never was. 

Mary Ellen Mark
[Photographer, b. 1940, Elkins Park, Pennsylvania, d. 2015, New York.]

 It’s important for me to be honest. The men, women, and children I photograph are straightforward with me. I have to respect them for what they are… What I look for is compassion, not pity. 

Irving Penn
[Photographer, b. 1917, Plainfield, New Jersey, d. 2009, New York.]

 I myself have always stood in the awe of the camera. I recognize it for the instrument it is, part Stradivarius, part scalpel. 
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