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

 You develop more confidence within the world, as a human being, about taking risks. And on one level not taking things so seriously, and then again, taking things so seriously that you can allow yourself to have fun with it. I have that chance of making that fucking space my own—let’s go in there and piss in the corner if it feels great. 

Henri Cartier-Bresson
[Photographer and painter, b. 1908, Chanteloup, France, d. 2004, Paris.]

 I weave around the subject like a referee in a boxing match. We are passive onlookers in a world that moves perpetually. Our only moment of creation is that 1/25th of a second when the shutter clicks, the signal is given, and the knife falls. We are like skilled shots who pull the trigger and hit their target. 

William J. T. Mitchell
[Writer, theorist, and architect, b. 1944, Melbourne, Australia, lives in Cambridge, Massachusetts.]

 We can identify certain historical moments at which the sudden crystallization of a new technology (such as printing, photography, or computing) provides the nucleus for new forms of social and cultural practice and marks the beginning of a new era of artistic exploration. The end of the 1830s—the moment of Daguerre and Talbot—was one of these. And the opening of the 1990s will be remembered as another—the time at which the computer-processed digital image began to supersede the image fixed on silver-based photographic emulsion... . From the moment of its sesquicentennial in 1989 photography was dead—or, more precisely, radically and permanently displaced—as was painting 150 years before. 

Vik Muniz
[Artist, b. 1961, Sao Paulo, Brazil, lives in New York.]

 Once I thought I could duplicate the dot pattern of a billboard with M&M's. I almost died of nervous exhaustion. Live ants, rubber bands, black beans, chains, electric sparks, magnets, oil, milk—you name it, I’ve tried a lot of things but only succeed with a few. 

Paul Strand
[Photographer, b. 1890, New York, d. 1976, Oregeval, France.]

 Gums, oils, soft-focus lenses, these are the worst enemies, not of photography, which can vindicate itself easily and naturally, but of photographers. The whole photographic past and present, with few exceptions, has been weakened and sterilized by the use of these things. (1923) 

Nhem En
[Photographer, b. 1961, Kampong Leng, Kampong Chhnang, Cambodia, lives in Cambodia.]

 It was difficult to take pictures of the newcomers who were blindfolded and tied up when they were leaving the truck. Sometimes they arrived in chains. Sometimes we got reprimanded; for example, if we took a picture of A and the photo was not good and A was already killed, then we were charged as the enemy. (En, official photographer at Khmer Rouge torture center Tuol Sleng, estimates he took photographs of 10,000 people arriving at the center. Eight survived.) 

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

 The kind of photography I did is gone. It’s old. There’s no point in it anymore for me, and I get no satisfaction from trying to do it. There are too many pictures now. It’s overwhelming. A flood of images that passes by, and says, “Why should we remember anything?” There is too much to remember now, too much to take in. 

Larry Burrows
[Photographer, b. 1926, London, d. 1971, Laos.]

 Sorry if my captioning is not up to standard but with all that sniper fire around I didn’t dare wave a white notebook. 
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