John Szarkowski
[Curator, critic, historian, and photographer, b. 1925, Ashland, Wisconsin, d. 2007, Pittsfield, Massachusetts.]

 Whatever else a photograph may be about, it is inevitably about photography, the container and vehicle of all its meanings. 

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. 

Mary Ellen Mark
[Photographer, b. 1940, Elkins Park, Pennsylvania, d. 2015, New York.]

 It’s not when you press the shutter, but why you press the shutter. 

William J. T. Mitchell
[Writer, theorist, and architect, b. 1944, Melbourne, Australia, lives in Cambridge, Massachusetts.]

 An interlude of false innocence has passed. Today, as we enter the post-photographic era, we must face once again the ineradicable fragility of our ontological distinctions between the imaginary and the real, and the tragic elusiveness of the Cartesian dream. We have indeed learnt to fix the shadows, but not to secure their meanings or to stabilize their truth values; they still flicker on the walls of Plato's cave. 

Saul Leiter
[Photographer, b. 1923, Pittsburgh, Pennsylvania, d. 2013, New York.]

 I go out to take a walk, I see something, I take a picture. I take photographs. I have avoided profound explanations of what I do. 

Jean Paul Sartre
[Writer and philosopher, b. 1905, Paris, d. 1980, Paris.]

 Photographs are not ideas. They give us ideas. 

Arthur Knight
[Writer and film critic, b. 1916, Philadelphia, Pennsylvania, d. 1991, Sydney, Australia.]

 Through this bright world the photographer walks like a zombie, blind unless a camera is strapped around his neck. The one time he appears without it is when he visits the clearing at night and discovers there the corpse. His immediate reaction is to run home for his camera. Only in a photograph does reality become meaningful for him. (On the film “Blow-Up”) 

Abigail Solomon-Godeau
[Writer and theorist, b. 1947, New York, lives in Santa Barbara, California.]

 “The thing itself” is never just out there in the world waiting to be framed by the photographer’s Leica; rather, it is something dynamically produced in the act of representation and reception and already subject to the grids of meaning imposed on it by culture, history, language, and so forth. 
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