Chris Burden
[Artist, b. 1946, Boston, Massachusetts, d. 2015, Los Angeles.]

 It’s about trying to frame something. And draw attention to it and say, “Here’s the beauty in this. I’m going to put a frame around it, and I think this is beautiful.” That’s what artists do. It’s really a pointing activity. 

Graciela Iturbide
[Photographer, b. 1942, Mexico City, lives in Coyoacán, Mexico.]

 Wherever we go we want to find the theme we carry inside ourselves. 

Alexey Brodovitch
[Graphic designer and art director, b. 1898, Ogolitchi, Russia, d. 1971, Le Thor, France.]

 When you look into your camera, if you see an image you have ever seen before, don’t click the shutter. 

Umberto Eco
[Writer, semiotician, and philosopher, b. 1932, Alessandria, Piedmont, Italy, d. 2016, Milan.]

 If photography is to be likened to perception, this is not because the former is a “natural” process but because the latter is also coded. 

Larry Fink
[Photographer, b. 1941, Brooklyn, New York, lives in Martins Creek, Pennsylvania.]

 My picture-making process is not so much about making a photograph as it is about paying extreme attention to what I’m most attracted to, what is drawing my interest. For the most part, I’m hyperstimulated at all times; my life is a massive run-on sentence of stimulation. 

Alphonse Bertillon
[Police officer, biometrics researcher, “inventor” of the criminal mug shot, b. 1853, Paris, d. 1914, Münsterlingen, Switzerland.]

 We can only see what we are looking for and we look for what is already in our minds. 

Daido Moriyama
[Photographer, b. 1938, Ikeda-cho, Osaka, Japan, lives in Tokyo.]

 [My] photos are often out of focus, rough, streaky, warped, etc. But if you think about it, a normal human being will in one day perceive an infinite number of images, and some of them are focused upon, others are barely seen out of the corner of one’s eye. 

Manuel Álvarez Bravo
[Photographer, b. 1902, Mexico City, d. 2002, Mexico City.]

 A photographer’s main instrument is his eyes. Strange as it may seem, many photographers choose to use the eyes of another photographer, past or present, instead of their own. Those photographers are blind. 
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