Roland Barthes
[Writer, critic, and theorist, b. 1915, Cherbourg, d. 1980, Paris.]

 In Photography, the presence of the thing (at a certain past moment) is never metaphoric... if the photograph then becomes horrible, it is because it certifies, so to speak, that the corpse is alive, as corpse: it is the living image of the dead. 

Oliver Wendell Holmes
[Physician, author, father of Supreme Court Justice Oliver Wendell Holmes, b. 1809, Cambridge, Massachusetts, d. 1894, Boston, Massachusetts.]

 Form is henceforth divorced from matter. In fact, matter as a visible object is of no great use any longer, except as the mould on which form is shaped. Give us a few negatives of a thing worth seeing, taken from different points of view, and that is all we want of it. Pull it down or burn it up, if you please... Matter in large masses must always be fixed and dear; form is cheap and transportable. We have got the fruit of creation now, and need not trouble ourselves with the core. (1859) 

Sandy Skoglund
[Photographer, b. 1946, Quincy, Massachusetts, lives in Jersey City, New Jersey.]

 I think I’m really fortunate to be an installation artist who is heavily invested in photography: I don’t have the emotional problems with the loss of work that some installation artists have. The photographs wouldn’t exist without the installation... but at the same time, I think I’d kill myself if I only did installations. There’s something deeply tragic about doing work that you know is temporal. 

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) 

Ken Domon
[Photographer, b. 1909, Sakata, Japan, d. 1990, Tokyo.]

 We should pay attention to the screaming voice of the subject and simply operate the camera exactly according to its indications. When the camera is operated according to these indications, the direct connection between the camera and the subject appears before us. 

Lady Elizabeth Eastlake (Elizabeth Rigby)
[Writer and photographer, b. 1809, London, d. 1893, London.]

 Every individual who launches his happiness on this stream [of photography] finds currents and rocks not laid down in the chart. Every sanguine little couple who set up a glass-house at the commencement of summer, call their friends about them, and toil alternately in broiling light and stifling gloom, have said before long, in their hearts, “Photography, thy name is disappointment!” (1857) 

Edmundo Desnoes
[Writer, b. 1930, Havana, Cuba, lives in New York.]

 Images, the visual power of present-day capitalism, like the ritual constructions of ancient Egypt, are refined ways of inhibiting and crushing man. 
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