Victor Burgin
[Artist and writer, b. 1941, Sheffield, England, lives in London.]

 The wholeness, coherence, identity, which we attribute to the depicted scene [in a photograph] is a projection, a refusal of an impoverished reality in favour of an imagined plenitude. 

Cornell Capa (Kornél Friedmann)
[Writer and photographer, b. 1918, Budapest, Hungary, d. 2008, New York.]

 The idea that any photography can’t be personal is madness! ... I see something; it goes through my eye, heart, guts; I choose the subject. What could be more personal than that? 

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

 When the subject is in any way uneasy, the personality goes away where the camera can’t reach it. There are no systems, for each case is individual and demands that we be unobtrusive, though we must be at close range. 

Max Beckman
[Artist, b. 1884, Leipzig, Germany, d. 1950, New York.]

 The important thing is first of all to have a real love for the visible world that lies outside ourselves as well as to know the deep secret of what goes on within ourselves. 

Gregory Crewdson
[Photographer, b. 1962, Brooklyn, New York, lives in New Haven Connecticut.]

 All my pictures are very voyeuristic, but ultimately I’m looking at what lurks in my own interior. I make photographs because I want to answer the question of what propels me to do the things that I do. But that always remains a mystery. 

Herbert Bayer
[Artist, graphic designer, theoretician, b. 1900, Haag, Austria, d. 1985, Montecito, California.]

 We live in a time of the greatest precision and of maximum contrasts: photomontage offers us a means to express this. It shows ideas: photography shows us objects. 

Sally Mann
[Photographer, b. 1951, Lexington, Virginia, lives in Lexington.]

 When I started doing the family pictures, there was originally a documentary impulse. It wasn’t even conscious. Something would happen and I would reach for a camera, because of the power of what was taking place. As I continued the project, that impulse expanded—I was interested in a lot more than just the black eye or the stitches in the emergency room. I was after the whole, all-encompassing concept of childhood, including the halcyon moments at the farm, the quotidian aspects of childhood as well as the more dramatic ones. 
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