Hunter Thompson
[Writer, b. 1937, Louisville, Kentucky, d. 2005, Woody Creek, Colorado.]
These horrifying digital snapshots of the American dream in action on foreign soil are worse than anything even I could have expected. I have been in this business a long time and I have seen many staggering things, but this one is over the line. Now I am really ashamed to carry an American passport.
(On photographs of Abu Ghraib prison in Iraq) 
Julio Cortázar
[Writer, b. 1914, Brussels, Belgium, d. 1984, Paris, France.]
I raised the camera, pretended to study a focus which did not include them, and waited and watched closely, sure that I would finally catch the revealing expression, one that would sum it all up, life that is rhythmed by movement but which a stiff image destroys, taking time in cross section, if we do not choose the essential imperceptible fraction of it. Robert Mapplethorpe
[Photographer, b. 1946, Floral Park, Long Island, d. 1989, Boston, Massachusetts.]
Street photography doesn’t interest me at all. I tried things, twice, but I felt so uncomfortable taking a camera out in the street—it’s sneaky somehow. Nikki S. Lee
[Photographer, b. 1970, Kye-Chang, Korea, lives in New York.]
What does it mean to go deeper? Taking pictures when you’re more emotional or sorrowful, or having sex? I just want to have really boring snapshots—people just standing in front of a camera taking pictures with a smile. Jerzy Kosinksi (Jerzy Lewinkopf)
[Writer, b. 1933, Lodz, Poland, d. 1991, New York.]
In my photographs it is apparent that there was no posing at the moment I released the shutter. John Ashbery
[Poet and critic, b. 1927, Rochester, New York, d. 2017, Hudson, New York.]
For although memories, of a season, for example,Melt into a single snapshot, one cannot guard, treasure
That stalled moment. It too is flowing, fleeting;?
It is a picture of flowing, scenery, though living, mortal,
Over which an abstract action is laid out in blunt,?
Harsh strokes.?
Janet Malcolm
[Writer, b. 1934, Prague, Czechoslovakia, lives in New York.]
Taking his cue from the snapshot, [Robert Frank] grasped that the camera is equipped as no other medium to show us things in their worst possible aspect. The camera’s profound misanthropy, its willingness to go unpleasant places where no one wants to venture, its nasty preference for precisely those facets of our nature we most wish to disown... are the real subjects of Frank’s pictures. Chris Marker
[Photographer and filmmaker, b. 1921, Neuilly-sur-Seine, Île-de-France, d. 2012, Paris.]
We feel more emotion... before an amateur photograph linked to our own life history than before the work of a Great Photographer, because his domain partakes of art, and the intent of the souvenir-object remains at the lower level of personal history.