HIDEKA TONOMURA: “THERE ARE NO BOUNDARIES BETWEEN NAKEDNESS, SEXUALITY AND THE EVERYDAY REALITY TO ME”
VALERIE PHILLIPS: “I LIKE REAL LIFE – UNSANITIZED, SOMETIMES UNPRETTY, BUT PACKED WITH SPIRIT AND CURIOSITY AND OBSESSION”
ULRIKE BIETS: “ZINE GIVES YOU MORE FREEDOM TO EXPERIMENT BECAUSE IT RELATES MUCH MORE TO THE DIY CULTURE THAN A BOOK”
MAT HENNEK: “GREAT LANDSCAPE PHOTOGRAPH IS: YOU HAVE TO LOVE WHAT YOU SEE; YOU HAVE TO FEEL THE SOUL OF BEAUTY.”
JOHN VINK: “MY WORK HAS TO DO WITH IDENTITY, WITH THE SENSE OF BELONGING, WITH DISRUPTIONS IN ORDINARY LIVES, AND WITH IMPOSED CHANGE”
HIROSHI TAKIZAWA: “PHOTOGRAPHY IS SIMILAR TO CRIMINAL PROFILING, WHERE EACH IMAGE REPRESENTS A PROOF OF THE WORLD AS IT EXISTED”
MAX PAM – “THE QUEST FOR INSPIRATION, THE HUNGER FOR NEW WAYS OF SEEING IS ALWAYS POTENTIALLY THERE, IN A PHOTOBOOK BY SOME WONDERFULLY ORIGINAL ARTIST”
MARIETTE PATHY ALLEN: “I AM LUCKY TO GIVE VOICE TO PEOPLE WHO HAVE BEEN HIDDEN OR BULLIED BY THE SOCIETY”
LUIS MOLINA-PANTIN: “INSTEAD OF INVESTIGATING THE DISAPPEARING CULTURES OR THE SOCIETIES IN CRISIS, I CHOOSE TO DO THE OPPOSITE”
PIXY LIAO – “PHOTOGRAPHING ‘EXPERIMENTAL RELATIONSHIPS’ MADE ME MORE AWARE OF MY FEMALE-SELF AND EAGER TO EXPLORE WHAT INTERESTS ME AS A WOMAN”
JAN HOEK: “A LOT OF PSYCHIATRIC PATIENTS HAD SUPERPOWERS, AND A UNIQUE BRAIN THE MOST ARTISTS WOULD BE JEALOUS OF”
MIKE MANDEL: “PHOTOGRAPHS ARE A POEM ABOUT THE AMPUTATION OF HUMAN SENSITIVITY IN SERVICE TO TECHNOLOGICAL PROGRESS.”
EKATERINA VASILYEVA: “A HANDMADE BOOK IS A GREAT EXPERIENCE THAT TEACHES TO BE PATIENT AND TO OVERCOME DIFFICULTIES”
GEORG ZINSLER: “SINCE WE ARE ALREADY TALKING ABOUT THE AFTERMATH OF NUCLEAR CATASTROPHES, I THINK THE CHANCES OF SURVIVAL OF A BOOK ARE FAR MORE PROBABLE”
MASHID MOHADJERIN: “I DO NOT THINK THAT CITIZEN JOURNALISM IS CAPABLE OF TAKING OVER THE ROLE OF PROFESSIONAL PHOTOGRAPHY”
LEIF SANDBERG: “PHOTOBOOK COMMUNICATES MY FEARS FOR PANIC AND DYING, IT ALSO SHOWS THE HAPPINESS OF A LONG RELATIONSHIP”
MAGNUS CEDERLUND – “IN THE END, IT IS NOT JOURNALISM OR ACTIVISM BUT AN AESTHETIC ENTERPRISE, SO THE INSPIRATION, NOT SYMPATHY, IS PARAMOUNT”
GUO YINGGUANG: “I CHOSE THIS SUBJECT BECAUSE THE PHRASE “LEFTOVER WOMEN” WAS WIDELY USED IN CHINA AT THE TIME, AND I WAS ONE OF THESE “LEFTOVER WOMEN” MYSELF.”
BAHADIR AKSAN: “IF YOU ARE MISLED & THE ONLY AIM IS TO BECOME THE WINNER, YOU MAY EASILY MISS THE MAIN BEAUTY OF PREPARING A PHOTO BOOK; THE EXCITEMENT, ENERGY & JOY IT BROUGHT TO YOU TO ACHIEVE A DUMMY THAT SATISFIES & REFLECTS YOU TOTALLY”
KOICHIRO KIMURA: “IT WAS A CHALLENGE TO EXPRESS THE UNIVERSAL FEELING OF FAMILY LOVE, PLEASURE AND ENTERTAINMENT IN MY PHOTOBOOKS”
GÖZDE ‘MIMIKO’ TÜRKKAN: “ACT OF TAKING AND DISPLAYING PHOTOGRAPHS IS, SIMILAR TO LAYING OUT THE DIRTY LAUNDRY”
