Joseph Pulitzer
[Editor, publisher and businessman, b. 1847, Makó, Hungary, d. 1911, Charleston, South Carolina.]

 They call me the father of illustrated journalism. What folly! I never thought any such thing. I had a small newspaper, which had been dead for years, and I was trying in every way to build up its circulation. What could I use for bait? A picture, of course. 

Pablo Picasso
[Artist, b. 1881, Málaga, Spain, d. 1973, Mougin, France.]

 When you see what you express through photography, you realize all the things that can no longer be the objective of painting. Why should the artist persist in treating subjects that can be established so clearly with the lens of a camera? 

Sylvia Plath
[Poet, b. 1932, Boston, Massachusetts, d. 1963, London.]

 It is best to meet in a cul-de-sac,
A palace of velvet
With windows of mirrors.
There one is safe,
There are no family photographs,
No rings through the nose, no cries. 

Secondo Pia
[Lawyer and amateur photographer, b. 1855, Asti, Italy, d. 1941, Milan.]

 No human being could have painted this negative that lies hidden in the stains. ... If it was not painted, not made by human hands, then ... (On his 1898 photograph which highlighted the alleged face in what is known as “the Shroud of Turin.”) 

Norman Parkinson
[Photographer, b. 1913, London, d. 1990, Singapore.]

 The only thing that gets in the way of a really good photograph is the camera. 

Paolo Pellegrin
[Photographer, b. 1964, Rome, lives in Paris.]

 You want to be more vulnerable because that’s how your photography becomes more human. In a sense you want to become a totally blank canvas so the subject or situation reflects him or itself upon you. 

Jayne Anne Phillips
[Writer, b. 1952, Buckhannon, West Virginia, lives in Boston, Massachusetts.]

 We take language into our minds; we read words in the same internal voice with which we think, remember, pray. But when we look at paintings or photographs, the reverse is true. If the image corresponds to our most intensely personal, yet archetypal, yearnings and memories, we don’t take the image in, we move out of ourselves into the image, as though it were another world, a hologram whose forms of light are ghostly angels, or a dream whose physical reality is suggested by what we see on the surface of a canvas or a page. We connect with the image as though we had lost it within our own memories and are now surprised to find it represented outside ourselves, vital and luminous, charged with energy. 

Dorothy Parker
[Writer, b. 1893, West End, New Jersey, d. 1967, New York.]

 When your bank account is so overdrawn that it is positively photographic, steps must be taken.