ON ROBERT FRANK
“His work has always seemed to me to be a particularly personal view of the world and so it has remained particularly important to me. To photograph Robert’s portrait was to preserve a record of a memorable conversation in New York. We shared a moment and now I share it with you.”
ON CINDY SHERMAN
“Her "Untitled Film Stills" were among the most important and influential photographs of the last quarter century. I think in a very dramatic way they opened up a whole new way of thinking about art photography which was less concerned with the tradition and history of art photography and more concerned with the larger culture, with film and advertising. It's also an enormously personal work. I feel like the pictures operate on both a cultural and a deeply personal level.”
ON SEBASTIAO SALGADO
“The first story we worked on together was in Portugal in 1975, one year after the coup d'etat. Even then you could tell he was full of devotion to his subject and operated with an intense vision. His determination was tremendous. I'm not even remotely surprised by the way he's been regarded. This is someone who had been an economist, and he came to photography later in life than other people. But when he decided to do it, he hit it with incredible intensity. And he's never lost that intensity.”
ON WILLIAM EGGLESTON
Eggleston's images are so simple, they almost defy description. He made photographing the everyday in color look very straightforward, and yet his images are very complex and subtle. What is interesting is that it takes a while to get it. When The Guide first came out, most people couldn't understand what all the fuss was about. Now, nearly 25 years later, his contribution and importance grow every year as people are slowly converted to his unique vision.