"I’ve also come to question more and more those situations where photographers are essentially expected to pay for access, or to pay someone to do their job. Portfolio reviews seem to me the most obvious and troubling example of this, a situation where we pay to jump the queue and go and see an editor or a curator who might be able to help us with work. In participating in this we are, in effect, paying a premium just to talk to a person whose job it already is to look at photography."

"The main intention of these projects is to evolve my vision, challenge myself, stretch, go beyond my “everyday work,” stimulate and exercise my curiosity and contribute to the world. My personal projects directly feed my commissioned work."

"What is that conversation? For my students, this usually comes down to finding references. But it’s not about the references per se. Of course, every photographer needs to know what her or his work is in dialogue with. Knowing about the dialogue is good, understanding what exactly that dialogue is — that’s really where the meat can be found."

"Yet, one thing that hasn’t changed for me is the belief that the photojournalist and photojournalism should strive to practice and convey empathy. While the casual observer might believe that photojournalism’s raison d’etre is to display the news, I would disagree. News, when not being salacious, informs of us the human condition, and should ideally strike a chord of empathy within us."

"As an artistic partnership, Hankerson and Criswell are interested in how American identity can be constructed by an individual or group of people and how identity can be altered through imagery."

"The pictures in Entartete are not sexy, but then they aren’t meant to be. They lack the single-track affect of porn – the warm thump of the gaze as it reaches down into the belly. And where pornography deals in airbrushed fictions, Lino’s photographs are raw and real and unconcerned with flattery."

"I recognize the photographer’s skill as image makers. But more than that I recognize something they all share in common, an interest in, and respect for the human condition in all its forms and a willingness to engage with it. Theirs is not surreptitious ‘stolen’ work, but direct and engaged, and as a result there’s a lot of it that makes me very very uncomfortable. Which is as it should be."

"For Douglas, however, these images escape relegation to the realm of wistfulness or sentimentality; instead, they reach through the decades to touch on themes and characters that carry weight and meaning today. Yes, they are documentary images, but for Douglas, they can also be symbolic ones, those that speak to an abiding vigor and resilience of the human spirit."

"Many questions emerge out of this account, but two in particular stand out strongly for me. The first is about the motivations of Toure and his collaborators, and the implications of setting up this account at a time when migration into Europe is such a current, controversial, and tragic topic. It’s easy to feel that the intention of this account are basically benign. It seems constructed to engender sympathy for the plight of migrants, putting us into their shoes through a platform we are all familiar with."

"In Europe and especially France, there’s a humanistic tradition of people like Cartier-Bresson where the most important thing is the people, not so much the environment. I admired it, but I was never linked to it. I was much more interested in all the elements:  the decor and the lighting and all the cars: the details were as important as humans. That’s a different attitude altogether."

"There are no shortage of homeless scenes as you look around the newswire. In this case, though, the melding of one situation into the other, and the visceral work of the color, interconnects the situations and the prospects in a way that is all-too-provocative, especially when you also dial-in how much the street accomodation looks like a hospital bed."

"The photograph almost functions like a visual warning to other pensioners in troubled European countries such as Portugal, Italy, Spain, Ireland or even France. The photographs says to those people across Europe, if you dare to vote for a political party that is willing to stand up against the neoliberal ideology of the EU, then you must suffer the consequences."