"You are free and you risk something by taking a photograph. It’s not taking a snapshot of your sister. You risk because this is maybe not the way people think one should photograph. So you go out on a more different road. There is a risk involved in that. And I think if an artist doesn’t take risks, then it’s not worth it."

"Photography is in a way a mental process. We have to know what to, be clear, on what we want to say. Our conceptions, our, what we think of a certain situation, a certain problem. Photography is a way of writing it, of drawing, making sketches of it."

"William Klein is an American photographer. One is tempted to say that he is the American photographer; among his coevals, only Richard Avedon can match him for stamina and range, and for a visual instinct so sure that you wonder whether both men had cameras implanted in their heads at birth."

"I don't think the essence of photography has the hand in it so much. The essence is done very quietly with a flash of the mind, and with a machine. I think too that photography is editing, editing after the taking."

"In a way I wanted to blot out any traces or information about the person in front of the camera."

"It’s quite true that what I am aiming at, even when I take portraits, is to get a scandalous picture. I would love to be a paparazzo."

"I was born in Tulsa, Oklahoma in January 1943. When I was 16 I started shooting valo. Valo was a nasel inhaler you could buy at the drugstore for a dollar with a tremendous amount of amphetamine in it."

"He opens the camera’s shutter for several minutes and occasionally lights up a cigarette while the desolate isolation and deep insecurities of the single family home
leak through towards permanence on film."

"Tony Stamolis‘ tour de armpit of California Fresno force is righteous-mad-style white trash migrant worker livin’ blues baby… a photographic onslaught of ugly dirty beauty… a freakin’ camera full of fugly-poppin’ pill-mushroom-love."

"We would go right inside the houses where the crime had occurred, on the street, in the factory, in a ditch, or wherever, and I would take pictures of all those dead people."

"Yes, I think education and intelligence is important, but not art. Not artistic education, because when you take a photograph you may be very influenced by what you have seen in paintings and this happened to me often."

"Joachim Brohm’s work demonstrates that there are other kinds of 'straight' photography in Germany besides the 'Becher School.'"

William Eggleston's Guide.
Photographs by William Eggleston. Text by John Szarkowski.
Museum of Modern Art, 2002. Cat# PK780 ISBN-10: 0870703781

The Dutch Photobook. A Thematic Selection from 1945 Onwards.
Edited by Frits Gierstberg, Rik Suermondt.
Aperture, 2012.
ISBN-13: 978-1597112000

Before Color.
Photographs by William Eggleston.
Steidl, 2010. Cat# ZE113 ISBN-13: 978-3869301228

William Eggleston. Democratic Camera; Photographs and Video, 1958-2008.
By Elisabeth Sussman, Thomas Weski, Tina Kukielski, and Stanley Booth.
The Whitney Museum of American Art, 2008. ISBN-13: 978-0300126211

Polaroids.
Photographs by Dash Snow
Peres Projects, 2009.
ISBN-13: 978-0981765846

Dash Snow. The End of Living, the Beginning of Survival.
Photographs by Dash Snow. Text by Anna T. Berger, Nicole Hackert.
Walther König, 2008.
ISBN-13: 978-3931355425

God Spoiled a Perfect Asshole When He Put Teeth in Yer Mouth.
Photographs by Dash Snow.
Peres Projects Holdings LTD, 2009. Cat# DQ214 ISBN-13: 978-0977881994

Unknown Weegee.
Photographs by Weegee. Text by Luc Sante and Cynthia Young.
Steidl / ICP, 2006.
ISBN-10: 386521312X

Naked Hollywood. Weegee in Los Angeles.
Photographs by Weegee.
Text by Richard Meyer & Int'l Center of Photography, contribution by The Museum of Contemporary Art, Los Angeles.
Rizzoli Publishers, 2011.
ISBN-13: 978-0847837625

Sumo.
Photographs by Helmut Newton.
Taschen, 2009.
ISBN-13: 978-3836517300

Polaroids.
Photographs by Helmut Newton.
Taschen, 2011.
ISBN-13: 978-3836528863

Photographs by Thomas Ruff.
Text by Bennett Simpson.
Aperture, 2009.
ISBN-13: 978-1597110938

Photographs by Thomas Ruff.
Text by Michel Houellebecq and Ulf Poschardt.
Harry N. Abrams, 2003.
ISBN-10: 0810945819

Edited with text by Stefan Gronert.
Aperture, 2010.
ISBN-13: 978-1597111362

Love on the Left Bank.
Photographs by Ed van der Elsken.
Dewi Lewis Publishing, 2010. 112 pp., 200 duotone illustrations, 10¾x7¾".

Suburbia.
Photographs and text by Bill Owens.
fotofolio, 1999. Cat# FL028 ISBN-10: 1881270408

Photo Express Tokyo by Keizo Kitajima

Vols. 1-12: 16 pages each, 18.3 x 25.8 cm

Quadrotone with solid spot colours and a glossy varnish, twelve magazines in an envelope

Published by Steidl and Le Bal, Paris

"There's always an implied timeline to a narrative, and since that is not a chronological timeline in this, it's not a survey either, but the timeline does have something to do with my consideration of the individual images, in some ways."

"Yes, an inversion taking place as elements and features, constructed from "normal ones", are twisted into creatures."

"In Los Angeles I wandered through Hollywood. I stayed several months. I did not wander like a director of photography or an artist seeking new locations. I just tried to find places where I felt good physically, places which affected my emotional behavior."

"Does the man serve as a symbol for the work or does the work serve as a symbol for the man?"

"Brandt did not go to great lengths to turn people into icons, nor did he presume to show their "true nature" in something so transient as a photograph."

"Such was the spontaneity and intuitive quality of this kind of work that we might term it ‘stream-of-consciousness’ photography, the visual equivalent of the stream-of-consciousness writing of the 1950s American ‘Beat’ writers such as Jack Kerouac, William Burroughs and Allen Ginsberg."

"The animal is subjected to one or two months of training. It must learn to live alongside other animals and humans, and to engage in different kinds of play without becoming violent."

"One thing I always try to do, if possible, is never to speak mildly or softly. I don’t think any photographer should. You should speak loud and clear. And that’s the way I try to take my pictures."

Anders Petersen has been working in London's Soho for several weeks. Immersing himself in its bars, cafes, homes and hotels - creating a very personal portrait of one of city’s most vibrant areas. The work created during this time will result in a book to be published in 2012.