Philip Jones Griffiths
[Photojournalist, b. 1936, Rhuddian, Wales, d. 2008, London.]

 ... faking has enjoyed a quantum leap with the advent of computerized manipulation. Now, with digital cameras, there is no “original” to compare... Fraudulent practice is easy and detection difficult, and photography will never be the same again. 
 Real photography is a wonderfully inclusive, democratic medium, whereas “art photography” is more often a private pursuit by conmen. 
 ...we are there with our cameras to record reality. Once we start modifying that which exists, we are robbing photography of its most valuable attribute. 
 Content alone is propaganda; form alone is wallpaper. 
 I attempt to channel my anger into the tip of my forefinger as I press the shutter. 
 When Bill Gates started Corbis we were told that he needed images to fill those “digital picture frames” in his home, and many found this plausible. But now it’s pretty clear that he’s set out to control the visual history of the twentieth century. 
 What we get to think and know about the world is in the hands of a very few... A truly informed public is antithetical to the interests of modern consumer capital. 
 The twentieth century was the time of photography, when almost everything of importance was recorded and considered true because it was photographed. Nowadays nearly anyone can produce a photograph of Ladybird Johnson standing on the grassy knoll with a smoking gun in her hand and no one can prove it’s a fake. 
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