Bertolt Brecht
[Dramatist, director and poet, b. 1898, Augsburg, Germany, d. 1956, East Berlin.]

 Art is not a mirror held up to reality, but a hammer with which to shape it. 

James Nachtwey
[Photographer, b. 1948, Syracuse, New York, lives in New York.]

 I used to call myself a war photographer. Now I consider myself as an antiwar photographer. 

Henri Cartier-Bresson
[Photographer and painter, b. 1908, Chanteloup, France, d. 2004, Paris.]

 They opened fire on you with bullets, but just think of your camera as a flamethrower and a lot more effective. (On South African police firing on photojournalists during Apartheid.)  

Gordon Parks
[Photographer and filmmaker, b. 1912, Fort Scott, Kansas, d. 2006, New York.]

 I have always felt as though I needed a weapon against evil. 

Roberta McGrath
[Critic, lives in Edinburgh, Scotland.]

 “Taking” a photograph is a way of making sense of the world. It imposes and order, a unity on the world which is lacking. To take a photograph is to exercise an illusory control, a mastery which is characteristic of voyeurism. But the sexual connotations of the verb are also obvious: the slang for carnal knowledge. It implies a physical penetration of the other while the photograph is a penetration of the space of the other. 

Eddie Adams
[Photojournalist, b. 1933, New Kensington, Pennsylvania, d. 2004, New York.]

 Still photographs are the most powerful weapons in the world. Words and pictures have a continuing struggle for primacy. In my mind, a person can write the best story in the world; but a photograph is absolute. 

Willi Muenzenberg
[Photographer, politician, and propagandist, b. 1889, Erfurt, Germany, d. 1940, Paris.]

 Photography has become an outstanding and indispensable means of propaganda in the revolutionary struggle. 

Dave Hickey
[Writer and critic, b. 1939, rural Texas, lives in Los Angeles.]

 As a step-child of the Factory, I am certain of one thing: images can change the world. I have seen it happen—experienced the “Before and After,” as Andy might say—so I know that images can alter the visual construction of reality we all inhabit, can revise the expectations that we bring to it and priorities that we impose on it—and know, further, that these alterations can entail profound social and political ramifications. 
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