Jacques Lacan
[Writer and psychoanalyst, b. 1901, Paris, France, d. 1981, Paris.]

 In this matter of the visible, everything is a trap. 

Michael Light
[Photographer, b. 1963, Florida, lives in San Francisco.]

 I take pleasure in working with the “non-art” photographs that reside in public archives, essentially authorless and owned by the world itself, because I find the world of “fine art photography” to be pretty silly and pretentious. 

Dorothea Lange
[Photographer, b. 1895, Hoboken, New Jersey, d. 1965, San Francisco.]

 The good photograph is not the object, the consequences of the photograph are the objects. 

Jean-François Lyotard
[Writer and philosopher, b. 1924, Versaille, France, d. 1998, Paris.]

 One knows that frontal and/or profile photography is torn to pieces... Inversely, what remains of the photograph must be seen as a fragment coming to fill a gap in the drawing. 

Claude Lanzmann
[Filmmaker, b. 1925, Paris, lives in Paris.]

 I think that no one human being would have been able to look at [a hypothetical photographic record of the Nazi gassing of Jews]… I would have preferred to destroy it. It is not visible. 

David LaChapelle
[Photographer, b. 1968, Connecticut, lives in New York.]

 People say photos don’t lie. Mine do. I make mine lie. 

Georg Lukács
[Historian, critic, and thinker, b. 1885, Budapest, Hungary, d. 1971, Budapest.]

 In montage’s original form as photomontage, it is capable of striking effects and on occasion it can even become a powerful political weapon. Such effects arise from its technique of juxtaposing heterogeneous, unrelated pieces of reality torn from their context. A good photomontage has the same effect as a good joke. 

Nathan Lyons
[Photographer, writer, and curator, b. 1930, Jamaica, New York, d. 2016, Rochester, New York.]

 Photography has achieved an unprecedented mirroring of the things in our culture. We have pictured so many aspects and objects of our environment in the form of photographs (motion pictures and television) that the composite of these representations has assumed the proportions and identity of an actual environment.