The camera that Curtis carried with him was in itself a symbol of white man’s dominance. In the face of its gaze the subjects muster what pride they have left, they show bitterness in defeat. The camera pins down the great chiefs like butterflies. - Julian Rodriguez
on Edward Sheriff Curtis - cited in "Pride & Prejudice", British Journal of Photography 23rd April 1992, p. 20.
Brandt, in common with many other photographers, later preferred not to admit to the constructed nature of some of his key pictures, many of which had by then taken their rightful place in the canon of social documentary – for the idea that ‘documentary’ photography can’t include setting up pictures should have been thrown out with the maid’s bathwater. - Julian Rodriguez
on Bill Brandt - cited in 'Brandt Awareness', British Journal of Photography 30th September 1993 p. 14.
Heartfield was one of the most vocal anti-Nazi’s alive at the time, a prophet of the impending doom, but startlingly in 1940, as if to temper his communist tendencies, he was arrested by British police and imprisoned as an enemy ‘alien’. - Julian Rodriguez
on John Heartfield...cited in 'Cut to the Quick', British Journal of Photography 27th August 1992, p. 20.
Newhall acknowledged both Weston’s and Adams’ help in preparing the 1937 (History of Photography) show. Moholy-Nagy and Man Ray (both adopted as ‘Americans’ for the purpose of history) also ‘assisted’. All these practitioners found themselves in the enviable position of helping to write themselves into history. I am not suggesting a conspiracy theory, but I simply want to emphasise that a small, all-powerful, museum-backed clique fashioned the medium’s ‘aesthetic history’. - Julian Rodriguez
on Beaumont Newhall - cited in 'History Man', British Journal of Photography 13th January 1994, p. 12