Sally Mann
[Photographer, b. 1951, Lexington, Virginia, lives in Lexington.]

 Each good picture always holds despair within it, for it raises the ante for the ones that follow. 

Daido Moriyama
[Photographer, b. 1938, Ikeda-cho, Osaka, Japan, lives in Tokyo.]

 If you were to ask me to define a photograph in a few words, I would say it is “a fossil of light and time.” 

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. 

Margaret Mead
[Anthropologist, b. 1901, Philadelphia, Pennsylvania, d. 1978, New York.]

 Photographs [are] of course heavily dependent upon the culture, the disciplinary point of view and the idiosyncratic vision of the particular photographer-analyst. 

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

 Even in this age of digital manipulation, photographs continue to hold a huge degree of power and meaning. They’re beautiful and sad and complicated because every stoppage of time refers to the motion of time. 

Marcel Duchamp
[Artist, b. 1887, Blainville, France, d. 1968, Neilly-sur-Seine, France.]

 Unless a picture shocks, it is nothing. 

Luigi Ghirri
[Photographer, b. 1943, Scandiano, Italy, d. 1992, Reggio Emilia, Italy.]

 Reality is being transformed into a colossal photograph, and the montage already exists: it’s called the real world. 

Annette Kuhn
[Writer and theorist, lives in Lancaster, England.]

 A photograph can certainly throw you off the scent. You will get nowhere, for instance, by taking a magnifying glass to it to get a closer look: you will see only patches of light and dark, an unreadable mesh of grains. The image yields nothing to that sort of scrutiny; it simply disappears. In order to show what it is evidence of, a photograph must always point you away from itself. 
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