Glenn Ligon
[Artist, b. 1960, Bronx, New York, lives in New York.]

 Even with a million cameras, there’s no such thing—for certain groups of citizens—as evidence. 

Vera Lutter
[Photographer, b. 1960, Kaiserslautern, Germany, lives in New York.]

 The first time I created a camera obscura, after I had realized how long I had to sit in there to adjust my eyes to the darkness, to see the projection, which is about 20 or 30 minutes—I thought I’d seen God. 

Richard Long
[Artist, b. 1945, Bristol, England, lives in Bristol.]

 I am an artist who sometimes chooses to use photographs, although I am not a photographer. 

Sherrie Levine
[Artist, b. 1947, Hazleton, Pennsylvania, lives in New York.]

 A picture is a tissue of quotations drawn from the innumerable centers of culture. 

Susie Linfield
[Writer and critic, New York, lives in New York.]

 Photographs excel, more than any other form of either art or journalism, in offering an immediate, viscerally emotional connection to the world…. [We] turn to photographs… for a glimpse of what cruelty, or strangeness, or beauty, or agony, or love, or disease, or natural wonder, or artistic creation, or depraved violence, looks like. 

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. 

Bernard-Henri Lévy
[Writer and critic, b. 1948, Béni Saf, Algeria, lives in St-Paul-de-Vence, France.]

 No one wants to see; no one wants to hear. We have to force them to see it, then. There has to be a terrorism of the gaze. 

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

 When you are doing a lot of hard fast field work, it’s a physical necessity to forget every day. You can’t try to remember it in any continuity. You get so burdened if you try to do it the other way. You can’t dictate to your material... We found our way in, slid in on the edges. We used our hunches. And it was hard, hard living.