Larry Fink
[Photographer, b. 1941, Brooklyn, New York, lives in Martins Creek, Pennsylvania.]

 [Photography is] the idea of the transformative merger between you and the person you are seeing, that you somehow try to enter their form, their skin, their mass, their muscle, and potentially, possibly, their soul. 

Nadar (Gaspard-Félix Tournachon)
[Photographer, b. 1820, Paris, d. 1910, Paris.]

 According to Balzac’s theory, all physical bodies are made up entirely of layers of ghostlike images, an infinite number of leaflike skins laid on top of one another. Since Balzac believed man was incapable of making something material from an apparition—that is, creating something from nothing—he concluded that every time someone had his photograph taken, one of the spectral layers was removed from the body and transferred to the photograph. Repeated exposures entailed the unavoidable loss of subsequent ghostly layers, that is, the very essence of life. 

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

 I think it does, a little, hurt to be photographed. 

Nan Goldin
[Photographer, b. 1953, Washington, D.C., lives in New York and Paris.]

 For me it is not a detachment to take a picture. It’s a way of touching somebody—it’s a caress.... I think that you can actually give people access to their own soul. 

Francis Bruguière
[Artist and photographer, b. 1879, San Francisco, d. 1945, London.]

 What lives in pictures is very difficult to define... it finally becomes a thing beyond the thing portrayed... some sort of section of the soul of the artist that gets detached and comes out to one from the picture. 

Subcommander Marcos (Rafael Sebastian Guillén Vicente)
[Professor and revolutionary, b. 1957, Tampico, Mexico, lives in Chiapas, Mexico.]

 ... the photographer is a thief who chooses what he steals (which, at this stage of the crisis, is a luxury) and does not “democratize” the image, that is to say, the photographer selects the pictures, a privilege which ought to be granted to the person being photographed. 

Vik Muniz
[Artist, b. 1961, Sao Paulo, Brazil, lives in New York.]

 In photography, the theater of consumption assumes yet another curious form: whenever someone buys a picture, he or she is subliminally buying part of the soul of the picture’s subject. We buy a picture of a thing, just for the sensation of owning a remotely detached and mediated part of that thing. 

Dennis Grady
[lives in South Pomfret, Vermont.]

 Display of the captive before the camera lens, the condition Crazy Horse so ardently avoided, quickly became a ritual of power. The U.S. Cavalry photographically documented hundreds of captive Indians along their forced marches to penal colony reservations, and such images are commonplace in histories of the West. 
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