Laura Mulvey
[Writer and filmmaker, b. 1941, Oxford, lives in London.]

 The defining male gaze projects its phantasy on to the female figure who is styled accordingly. In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness. 

Ben Maddow
[Biographer and screenwriter, b. 1909, Passaic, New Jersey, d. 1992, Los Angeles.]

 I feel certain that the largest part of all photographs ever taken or being taken or ever to be taken, is and will continue to be, portraits. This is not only true, it is also necessary. We are not solitary mammals, like the elephant, the whale and the ape. What is most profoundly felt between us, even if hidden, will reappear in our portraits of one another. 

Robert Morris
[Artist and theorist, b. 1931, Kansas City, Missouri, lives in New York.]

 There is probably no defense against the malevolent powers of the photograph to convert every visible aspect of the world into a static, consumable image. 

Grant Mudford
[Photographer, b. 1944, Sydney, Australia, lives in Los Angeles.]

 I realized eventually that if I was really on top of what I was doing, I should be able to make photographs out of almost anything. 

Karl Marx
[Political philosophers, b. 1818, Trier, Germany, d. 1883, London.]

 Men can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. 

Ishiuchi Miyako
[Photographer, b. 1947, Gunma Prefecture, Japan, lives in Tokyo.]

 I cannot stop [taking photographs of scars] because they are so much like a photograph… They are visible events, recorded in the past. Both the scars and the photographs are the manifestation of sorrow for the many things which cannot be retrieved... 

Steve McCurry
[Photographer, b. 1950, Newton Square, Pennsylvania, lives in New York.]

 If you wait, people will forget your camera and the soul will drift up into view. 

Yukio Mishima
[Writer, b. 1925, Tokyo, d. 1970, Tokyo.]

 This is a photograph, so it is as you see: there are no lies and no deceptions. One can detect here, elevated to an incomparably higher level, the same pathetic emotional appeal that lies concealed in every fake spiritualist photograph, every pornographic photograph; one comes to suspect that the strange, disturbing emotional appeal of the photographic art consists solely in that same repeated refrain: this is a true ghost... this is a photograph, so it is as you see: there are no lies, no deceptions.