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

 Language is a direct medium and communicates meaning and intention straight. A photograph, on the other hand, is subject to the viewer’s memory, aesthetics, and feelings—all of which affect how the photograph is seen. 

Elliott Erwitt
[Photographer, b. 1928, Paris, France, lives in New York.]

 Little is more irritating to me than photographers pontificating about photography or talking about their pictures in public, unless these photographers have just come back from China or the moon, or have something very particular to say, or a great new technique and approach to talk about, or are interesting and intelligent personalities. They should stick to talking through their pictures. 

Beaumont Newhall
[Photographer, writer, and historian, b. 1908, Lynn, Massachusetts, d. 1993, Santa Fe, New Mexico.]

 Over the years, photography has been to me what a journal is to a writer—a record of things seen and experienced, moments in the flow of time, documents of significance to me, experiments in seeing. 

Sophie Calle
[Artist, b. 1953, Paris, lives in Paris and New York.]

 I didn’t know what to do with these images. [Bank photos of people withdrawing money from an automatic cash dispenser.] I had to come up with an idea... I kept on thinking that those images were not sufficient unto themselves. The text was missing. This text that won’t let go of me. My trademark: images and texts. By showing found photos, without any input from me, I wasn’t clinging to my own style. That seemed too easy. I was at a dead end. The words were missing. I suggested to Jean Baudrillard that he write captions for these photographs. He filled four pages... But what was my role? In my hands I had images produced by a machine and a text written by someone else. 

Brassaï (Gyula Halász)
[Photographer, b. 1889, Brassó, Transylvania, Hungary (now Romania), d. 1984, Eze, Alpes-Maritimes, France.]

 In the light of photography a new Proust has been revealed to me as a sort of mental photographer who used his own body as an ultrasensitive plate, managing thereby to capture and register in his youth thousands of impressions, and who, starting from the search for lost time, dedicated his own time to developing and printing them, thereby making visible the latent image of his entire life in that gigantic photograph constituted by À la recherche du temps perdu. 

Roland Barthes
[Writer, critic, and theorist, b. 1915, Cherbourg, d. 1980, Paris.]

 Today, at the level of mass communications, it appears that the linguistic message is indeed present in every image: as title, caption, accompanying press article, film dialogue, comic strip balloon. Which shows it is not very accurate to talk of a civilization of the image—we are still, and more than ever, a civilization of writing, writing and speech continuing to be the full terms of the informational structure. 
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