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

 Where is the line between life and photographing life? 

Jonathan Green
[Writer, photographer, and curator, b. 1939, lives in Riverside, California.]

 It was consistent with the social and psychological upheavals of the sixties that a documentary focus should emerge that looked at them less newsworthy, internal aspects of the new culture... The obsessions of sixties photography were ruthless: alienation, deformity, sterility, insanity, sexuality, bestial and mechanical violence, and obscenity. 

Imogen Cunningham
[Photographer, b. 1883, Portland, d. 1976, San Francisco.]

 You know, a documentary is only interesting once in a while. If you look at a whole book of Dorothea [Lange]’s where she has row after row of people bending over and digging out carrots—that can be very tedious. And so it’s only once in a while that something happens that is worth doing. 

Berenice Abbott
[Photographer, writer, teacher, b. 1898, Springfield, Ohio, d. 1991, Monson, Maine.]

 I have yet to see a fine photograph which is not a good document. 

Jeff Wall
[Photographer, b. 1946, Vancouver, Canada, lives in Vancouver.]

 In some way [my photographs] claim to be a plausible account of, or a report on, what the events depicted are like, or were like, when they passed without being photographed. (On his “near documentary” images.) 

André Kertész
[Photographer, b. 1894, Budapest, Hungary, d. 1985, New York.]

 You do not have to imagine things; reality gives you all you need. 

Pieter Hugo
[Photographer, b. 1976, Johannesburg, South Africa, lives in Cape Town.]

 I’m interested in photography because it sits somewhere between document and art. 

Michelangelo Antonioni
[Filmmaker, b. 1912, Ferrara, Italy, d. 2007, Rome.]

 You cannot penetrate events with reportage. 
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