Lisette Model
[Photographer, b. 1906, Vienna, Austria, d. 1983, New York.]

 Speed, the fundamental condition of the activities of our day is the power of photography, indeed the modern art of today, the art of the split second. 

Annie Leibovitz
[Photographer, b. 1949, Westbury, Connecticut, lives in New York.]

 In this day and age of things moving so, so fast, we still long for things to stop, and we as a society love the still image. (2013) 

Sylvia Plachy
[Photographer, b. 1943, Budapest, Hungary, lives in New York.]

 Stop and go: always on some journey. My bounty is a photograph or two. 

Emmet Gowin
[Photographer, b. 1941, Danville, Virginia, lives in Princeton, New Jersey.]

 I was going round the world searching for an interesting place, when I realized that the place that I was in was already interesting. 

Gabriel Orozco
[Artist, b. 1962, Jalapa, Veracruz, Mexico, lives in New York, Paris, and Mexico City.]

 My photographs are not just about the instant of movement you capture in the camera. It’s much more total, about constant movement that became static. 

David Hockney
[Artist, b. 1937, Bradford, England, lives in Bridlington, Yorkshire; London; and Los Angeles.]

 Cubism was about the destruction of a fixed way of looking. A fixed position implies we are standing still, that even the eye is still. Yet we all know our eyes move constantly, and the only time they stop moving is when we’re dead—or when we’re staring. And if we’re staring, we’re not really looking. That is the problem with the single frame photograph: all you can actually do is stare at it. Your eyes cannot wander around in it, because of its inherent lack of time. 

Joan Didion
[Writer, b. 1934, Sacramento, California, lives in New York.]

 ...[t]o shift the structure of a sentence alters the meaning of that sentence, as definitely and inflexibly as the position of a camera alters the meaning of the object photographed. 

David Hockney
[Artist, b. 1937, Bradford, England, lives in Bridlington, Yorkshire; London; and Los Angeles.]

 The convention of the blur comes from photography; it’s what happens when motion is compressed onto a chemical plate. We’ve seen so many photos of blurs that we now think we actually see them in the world. But look sometime: you don’t. 
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