"….thinking about how much I love a lot of all the recent studio/set-up/digital photography but also wishing a generation of photographers would be going out there (ala Gary Winogrand and Diane Arbus and Robert Adams, Ed Ruscha, et. al.) and taking pictures of modern life so we can see the fissuring and thunder and banality and strange self-selecting ikebana of everyday life. Like I said, I’m all like this …"
"Print your photos and tape them to a wall. Look at them. Play around with the L, cropping and framing, and you will learn about composition and geometry. Enlarge what you frame and leave it on the wall. By looking, you will learn to see. When you agree that a photograph is not good, throw it out. Tape the best ones higher on the wall, and eventually look at those only (keeping the not-so-good one gets you used to not-so-goodness). Save the good ones, but throw everything else away, because the psyche retains everything you keep."
"Over the past decade Soth and Ethridge have become ubiquitous; both appeared in the Whitney Biennial (2004 and 2008 respectively), both showed at Gagosian (Chelsea and Beverly Hills respectively) and both have published numerous books while maintaining high-profile professional careers in editorial (Soth with a Sunday Times Magazine cover) and commercial (Ethridge with a W fashion spread) photography. While neither has received a high profile museum show, it seems to be only a matter of time. By any standard they have been the most successful photographers of the last decade, spawning a photographic approach that can be spotted in a generation of photographers like Christian Patterson, Daniel Shea, Joshua Lutz, Greg Halpern and countless recent MFA shows. This style of work is a hybrid of Soth’s traditional narrative style, where the picture contains a clear well crafted idea, and Ethridge’s free-form editing, where placing a vernacular image next to a large format landscape, next to a black and white snapshot, next to a drawing, is all fair game and hopefully creates meaning."
"Young practitioners now are expected to be good at verbalising their intentions, verbalising their results, self-promotion and networking etc. I think these lists are getting a little out of hand as they often highlight the opposite of what led me to photography in the first place. They often appear to be steered by few, friends of friends, publishers, authors, writers etc and perhaps this back scratching can lead to exclusion of many who make work who can’t or don’t want to ‘play the game’."
"It is what it is and, in a way, photography is flourishing even if some photographers are not. I read somewhere recently that the average person in the west sees more images before lunch than someone living in 1890 would see in their whole life. It’s hard to make sense of what that means. Everyone can make a picture look fantastic now just by using an app, so that is not the point any more. Ideas are the key. Ideas are the future."