Andreas Gursky
[Photographer, b. 1955, Leipzig, Germany, lives in Dusseldorf.]

 Paradoxically, this view of the Rhine cannot be obtained in situ; a fictitious construction was required to provide an accurate image of a modern river. (On his photograph Rhein II) 

Richard Misrach
[Photographer, b. 1949, Los Angeles, lives in San Francisco.]

 In spite of recent trends towards fabricating photographic narratives, I find, more than ever, traditional photographic capture—the “discovery” of found narratives—deeply compelling. 

Philip Jones Griffiths
[Photojournalist, b. 1936, Rhuddian, Wales, d. 2008, London.]

 ...we are there with our cameras to record reality. Once we start modifying that which exists, we are robbing photography of its most valuable attribute. 

Walter Benn Michaels
[Writer and critic, b. 1948, lives in Chicago.]

 What a [Cindy Sherman] photograph shows is an object that has been called into the world by the existence of cameras; the pose, as pose, calls attention to this fact and criticizes the world the camera has made; the camera, then, records this critique. 

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

 I became a photographer to make a record that no one could revise, and now anyone can revise it. 

John Gossage
[Photographer, b. 1946, Staten Island, New York, lives in Washington D.C..]

 You can do anything you like, it’s all fiction. 

Philip Jones Griffiths
[Photojournalist, b. 1936, Rhuddian, Wales, d. 2008, London.]

 The twentieth century was the time of photography, when almost everything of importance was recorded and considered true because it was photographed. Nowadays nearly anyone can produce a photograph of Ladybird Johnson standing on the grassy knoll with a smoking gun in her hand and no one can prove it’s a fake. 

Douglas Crimp
[Writer, theorist and critic, b. 1944, Coeur d'Alene, Idaho, lives in Rochester, New York.]

 The strategy of the [directorial] mode is to use the apparent veracity of photography against itself, creating one’s fictions through the appearance of a seamless reality into which has been woven a narrative dimension. (1980) 
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