Lewis Baltz
[Photographer, b. 1945, Newport Beach, California, d. 2014, Paris.]

 I saw a world that was being shoved down my throat, and I thought by putting up a mirror to it I could show it to itself. 

Christian Metz
[Writer and film theorist, b. 1931, Béziers, France, lives in France.]

 Photography is the mirror, more faithful than any actual mirror, in which we witness at every age, our own aging. The actual mirror accompanies us through time, thoughtfully and treacherously; it changes with us, so that we appear not to change. 

August Sander
[Photographer, b. 1876, Herdorf, Germany, d. 1964, Cologne.]

 I never made a person look bad. They do that themselves. The portrait is your mirror. 

Larry Fink
[Photographer, b. 1941, Brooklyn, New York, lives in Martins Creek, Pennsylvania.]

 The pictures are taken in the spirit of finding myself in the other or finding the other in myself. (On his images published as Social Graces, made mainly at museum and gallery parties and similar high-end social functions.) 

Eikoh Hosoe
[Photographer, b. 1933, Yonezawa, Yamagata Prefecture, Japan, lives in Tokyo.]

 To me, a photograph is both a record and a testimony, mirror and window... in which inside and outside are as one, ever-changing... The camera is generally assumed to be unable to depict that which is not visible to the eye. And yet the photographer who wields it well can depict what lies unseen in his memory. 

Peter Galassi
[Curator and writer, b. 1951, Washington, D.C., lives in New York.]

 One of the great adventures of modernism began when painters closed the window of Renaissance perspective and contemplated the shuttered field of the picture plane. In theory, the medium of photography—a perfect, mechanical embodiment of perspective—would seem to have had no role to play in such an enterprise. But the photograph is a picture too, and photography’s modernist adventure might be described as a dialogue between the transparency of the open window and the impenetrable surface of the image. 

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

 Every picture-constructing advantage accumulated over centuries is given up to the jittery flow of events as they unfold. The rectangle of the viewfinder and the speed of the shutter, photography’s “window of equipment,” is all that remains of the great craft-complex of composition. 

Alec Soth
[Photographer, b. 1969, Minneapolis, Minnesota, lives in Saint Paul, Minnesota.]

 Whether you are Minor White or Robert Frank, almost every photograph starts with an act of pure description—a window. But every now and then you catch a glimpse of the photographer’s reflection. The mirror is just another function of the window. 
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