Marshall McLuhan
[Writer and theorist, b. 1911, Edmonton, Alberta, Canada, d. 1980, Toronto, Canada.]

 Nobody can commit photography alone. 

Ishiuchi Miyako
[Photographer, b. 1947, Gunma Prefecture, Japan, lives in Tokyo.]

 The world only starts to become evident through personal histories. In “Hiroshima,” I don’t photograph the several hundreds of thousands of deaths, but an encounter with just one woman wearing a dress, with the dress arranged so that the woman, who is still missing today, can come home at any time. 

Robert Adams
[Photographer and writer, b. 1937, Orange, New Jersey, lives in Astoria, Oregon.]

 With a camera, one has to love individual cases. 

Boris Mikhailov
[Photographer, b. 1938, Kharkov, Ukraine, lives in Kharkov and Berlin.]

 Through the ass of this woman I saw the world. (On his series of photographs: “Superimpositions.”) 

Henri Cartier-Bresson
[Photographer and painter, b. 1908, Chanteloup, France, d. 2004, Paris.]

 What counts are the little differences. “General ideas” mean nothing. Long live the details. A millimeter makes all the difference. 

George Bernard Shaw
[Writer, critic, and dramatist, b. 1856, Dublin, d. 1950, Ayot St. Lawrence, Hertfordshire, England.]

 There is a terrible truthfulness about photography that sometimes makes a thing ridiculous... take the case of the ordinary academician. He gets hold of a pretty model, he puts a dress on her and he paints her as well as he can and calls her “Juliet,” and puts a nice verse from Shakespeare underneath, and puts the picture in the Gallery. It is admired beyond measure. The photographer finds the same pretty girl; he dresses her up and photographs her, and calls her “Juliet,” but somehow it is no good—it is still Miss Wilkins, the model. It is too true to be Juliet. 

Joseph Goebbels
[Nazi Minister of Propaganda, b. 1897, Rheydt, Germany, d. 1945, Berlin.]

 The experience of the individual has become the experience of the people, thanks solely to the camera. 

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

 I remember a long time ago when I first began to photograph I thought, there are an awful lot of people in the world and it’s going to be terribly hard to photograph all of them, so if I photograph some kind of generalized human being, everybody’ll recognize it. It’ll be like what they used to call the common man or something. It was my teacher, Lisette Model, who finally made it clear to me that the more specific you are, the more general it’ll be. 
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