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Edward Weston

Shell, 1927 by Edward Weston
Shell, 1927 by Edward Weston

“The camera should be used for a recording of life, for rendering the very substance and quintessence of the thing itself, whether it be polished steel or palpitating flesh.”

-Edward Weston (B. March 24, 1886 – D. January 1, 1958)

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Joe McNally

 From “The Power of Light” for the National Geographic, on top of the Empire State Building.
From “The Power of Light” for the National Geographic, on top of the Empire State Building.

“The qualities that I think get underestimated quite often are durability and tenacity and a willingness to just keep at it. Time spent behind the camera is just phenomenally important.”

– Joe McNally (born July 27, 1952)

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David Hurn

G.B. ENGLAND. London. A march from the embankment to the American Embasy in the  demonstration against the war in Vietnam. The march passed off almost amicably.
G.B. ENGLAND. London. A march from the embankment to the American Embassy in the demonstration against the war in Vietnam. The march passed off almost amicably.

“The fundamental issue is one of emphasis: you are not a photographer because you are interested in photography…The reason is that photography is only a tool, a vehicle, for expressing or transmitting a passion in something else. It is not the end result.”

-David Hurn (born July 21, 1934)

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Jacob Aue Sobol

GUATEMALA. La Pista. 2005. Usually the women stay at home working on the household, but when it is time to sow, they join the men and help in the field. In this picture the family have just planted beans, which together with corn, is the most important crop for their everyday meals. Indigenous Family, Guatemala. The Gomez Brito family lives in a remote area of the mountains in Guatemala near the village of Nebaj. Nebaj is part of the Ixil-triangle, an area of three towns that maintains one of the strongest indigenous cultures in Guatemala. Even though the number of natives makes out the majority of the population in the country, they are still discriminated in many ways. Most of them live in poverty and many work on farms earning a wage of 2-3 dollars a day. In the late 1970s and 1980s, the Ixil-region was engulfed in a civil war, killing and displacing thousands of Ixil Mayans. During the war the portrayed family lost their youngest child, who died of hunger and disease when hiding in the surrounding mountains. Today, in the very same mountains, the mother Juanita and the father Andrés live with their nine children. Unlike many other families from this area, they have succeeded in keeping the family together by working hard on their own pieces of land. From early morning to sunset the daily routine is to collect fruits and berries, cultivate the land - which mainly consist of corn and beans - and breed the animals. Even though the chance of a change in their life is most unlikely, all the children have different dreams for the future. Maria, 7, wants to continue school and get an education, Faustino, 18, is eager to find a way to enter the USA, while David, 6, claims that his wish is to take over the family's land, when his father retires.
GUATEMALA. La Pista. 2005. By Jacob Aue Sobol.

“I made a decision that to me, photography had to be something that I could feel. I could feel in my stomach. I could not take pictures that were not connected to my own inner life.

Jacob Aue Sobol (Danish, b. 1976)
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Daido Moriyama

KARIUDO (Hunter) 1972/2010. By Daido Moriyama.
KARIUDO (Hunter)
1972/2010. By Daido Moriyama.

“If you were to ask me to define a photograph in a few words, I would say it is “a fossil of light and time.”

-Daido Moriyama (b. 1938, Ikeda-cho, Osaka, Japan, lives in Tokyo.)

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Stephen Shore

Presidio, Texas, February 21, 1975. By Stephen Shore.
Presidio, Texas, February 21, 1975. By Stephen Shore.

“To see something spectacular and recognize it as a photographic possibility is not making a very big leap. But to see something ordinary, something you’d see every day, and recognize it as a photographic possibility – that is what I am interested in.”

Stephen Shore (born October 8, 1947)

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William Klein

Wiliam Klein
Smoke + Veil, Paris (Vogue), 1958. By William Klein.

“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.”

William Klein (born April 19, 1928)