[Philosopher and writer, b. 1897, Billon, Puy-de-Dôme, France, d. 1962, Paris.]
...specialist art photographers can produce nothing more than rather tedious technical acrobatics. Press photographs or film stills are much more pleasurable to look at and much livelier than the majority of masterpieces that are presented for the public’s admiration.
[Photographer, writer, and curator, b. 1930, Jamaica, New York, d. 2016, Rochester, New York.]
The accidents of millions of amateurs devoid of a picture vocabulary—which produced an outpouring of multiple exposures, distortions, unusual perspectives, foreshortening of planes, imbalance—has contributed greatly to the visual vocabulary of all media since before the turn of the century.
[Photographer, b. 1923, Graz, Austria, d. 2002, New York.]
In my heart I like to remain an amateur, in the sense of being in love with what I’m doing, forever astonished again at the endless possibilities of seeing and using the camera as a recording tool.
[Photographer, b. 1936, Stepney, England, d. 1996, London.]
Don’t buy a Hasselblad unless you have a tripod and an assistant. If you drop the magazine, it tends to be embarrassing, like trying to spoon up your guacamole in Acapulco. When I see a Hampstead gynaecologist on holiday festooned with a Hasselblad and lenses and no tripod, I know he is a photographer wanker.
[Photographer, b. 1933, London, d. 2010, London.]
One of the great problems with photography is that any twat you give a camera to can take a photograph. What that does to the photographer is immediately create an inferiority complex within him because anyone can do it, which of course they can.
[Artist, b. 1940, Monroe, Washington, lives in New York.]
I always say that inspiration is for amateurs; the rest of us just show up and get to work.
[Photographer, b. 1928, Paris, France, lives in New York.]
It’s about time we started to take photography seriously and treat it as a hobby.
[Writer, theorist, and critic, b. 1933, New York, d. 2004, New York.]
Photography is the only major art in which professional training and years of experience do not confer an insuperable advantage over the untrained and inexperienced—this for many reasons, among them the large role that chance (or luck) plays in the taking of pictures, and the bias toward the spontaneous, the rough, the imperfect.