Jörg Colberg on neoliberal realism in photography
For the most part, the photographs are staged, often very elaborately (there are occasional candid photographs). This is especially true for the photographs that regularly make it on to the covers of Vanity Fair or Vogue. They are in colour, somewhat desaturated, typically each with a very specific overall tone. They resemble what we have come to expect from Hollywood movies or TV productions, which often use an overall blueish or greenish atmosphere. As a consequence of these colour choices, skin tones are, for the most part, very far from what real skin looks like. The photograph’s heavy artifice is apparent.

Alec Soth and C. Fausto Cabrera on finding creativity in isolation

For years, I have relied on photography for reference material, given my incarceration, and have developed a great admiration for the genre. By sheer impulse, I am reaching out to local artists I admire in the hope to ignite a professional dialogue. I have no real expectation but to connect with other artists. Incarceration comes with a low glass ceiling. By no way am I absolved of my past – but I seek to pay something forward through my art and writing…

"and empty grows every bed": Anne Wilkes Tucker on Alec Soth's 'Sleeping by the Mississippi'
Loneliness is as present as faith throughout the book. The loneliness of travel is endemic in photography’s history for those who leave the studio and travel in search of their subjects. Soth experienced it and recognized it in others. Rather than reject or ignore it, he sought it out, transforming it to empathy. It is all too easy to aim a camera, which can be harsh and unforgiving.

On punks and privatisation: Paul Graham reflects on his 1980s photographs in 'A1: The Great North Road'

These photographs, now four decades old, seem clearly stained with a sentiment for the country, or at least the country-of-my-mind. Then again, aren’t they all countries of our minds? Isn’t that the issue here? The lands we ‘live in’, their meaning and narratives are mostly a web we spin, stories we tell ourselves of history, identity, heritage, ‘character’ — these are the cloth in which we wrap ourselves, to explain or justify entrenched attitudes and political viewpoints.

Duncan Forbes: A Self-Portrait of the Artist as a Young Man
In late 1972, shortly after his twenty-seventh birthday, Lewis Baltz conducted an interview . . . with himself. The immediate spur for this unwonted act of self-inquiry is unclear, although it came at a moment when the artist was beginning to receive national attention for his photography. A typed transcript of the interview, which was never published, has recently surfaced, having been handed on at the time by Baltz to one of his students, Laurie Brown.
The Adventures of Guille and Belinda: Alessandra Sanguinetti on her lifelong collaboration with two young cousins
I started taking pictures with Guillermina and Belinda back in 1999 when they were nine years old. We would pretend we were on a TV show and I would film them while they interviewed each other. They’d dance and sing and ask each other about their favorite fruit or animal or singer. I’d often whisper to them my own questions.