Robert Frank
[Photographer and filmmaker, b. 1924, Zürich, Switzerland, lives in Mabou, Cape Breton, Nova Scotia, Canada, and New York.]

 The truth is somewhere between the documentary and the fictional, and that is what I try to show. What is real one moment has become imaginary the next. You believe what you see now, and the next second you don’t anymore. 

Joel Sternfeld
[Photographer, b. 1944, New York, lives in New York.]

 No individual photo explains anything. That’s what makes photography such a wonderful and problematic medium. It is the photographer’s job to get this medium to say what you need it to say. Because photography has a certain verisimilitude, it has gained a currency as truthful—but photographs have always been convincing lies. 

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

 The camera is in some ways a sketchbook drawn in time and space, and it is also an admirable instrument that seizes life just as it presents itself. 

Diane Arbus
[Photographer, b. 1923, New York, d. 1971, New York.]

 I really believe there are things nobody would see if I didn’t photograph them. 

Lady Elizabeth Eastlake (Elizabeth Rigby)
[Writer and photographer, b. 1809, London, d. 1893, London.]

 Thus are the incidents of time, and the forms of space, simultaneously recorded; and every picture becomes an authentic chapter in the history of the world. (1857) 

Sabrina Harman
[U.S. military guard at Abu Ghraib Prison, Iraq, b. 1978, Lorton, Virginia, lives in Virginia.]

 If I come up to you and I’m like, “Hey this is going on,” you probably wouldn’t believe me unless I had something to show you. So if I say “Hey this is going on. Look, I have proof,” you can’t deny it, I guess. (On why she took the infamous photos of abused prisoners at Abu Ghraib Prison, Iraq) 

Edmundo Desnoes
[Writer, b. 1930, Havana, Cuba, lives in New York.]

 Photography has fooled the world. There’s no more convincing fraud. Its images are nothing but the expression of the invisible man working behind the camera. They are not reality, they form part of the language of culture. 

Susie Linfield
[Writer and critic, New York, lives in New York.]

 Photographs excel, more than any other form of either art or journalism, in offering an immediate, viscerally emotional connection to the world…. [We] turn to photographs… for a glimpse of what cruelty, or strangeness, or beauty, or agony, or love, or disease, or natural wonder, or artistic creation, or depraved violence, looks like. 
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