Duane Michals
[Photographer, b. 1932, McKeesport, Pennsylvania, lives in New York.]

 Photography books often have titles like The Photographer’s Eye or The Vision of So and So or Seeing Photographs—as if photographers didn’t have minds, only eyes. 

William Burroughs
[Writer, b. 1914, St. Louis, Missouri, d. 1997, Lawrence, Kansas.]

 Open your mind and let the pictures out. 

Man Ray (Emanuel Radnitsky)
[Artist, b. 1890, Philadelphia, Pennsylvania, d. 1976, Paris.]

 Were it not for the fact that photography permits me to seize and to possess the human body and face in more than a temporary manner, I should quickly have tired of this medium. 

Joyce Tenneson
[Photographer, b. 1945, Weston, Massachusetts, lives in New York.]

 A true portrait can never hide the inner life of its subject. It is interesting that in our culture we hide and cover the body, yet our faces are naked. Through a person’s face we can potentially see everything—the history and depth of that person’s life as well as their connection to an even deeper universal presence. 

Ludwig Wittgenstein
[Philosopher, b. 1889, Vienna, Austria, d. 1951, Cambridge, England.]

 The human body is the best picture of the human soul. 

Philippe Halsman
[Photographer, b. 1906, Riga, Latvia, d. 1979, New York.]

 In a jump the subject, in a sudden burst of energy, overcomes gravity. He cannot simultaneously control his expressions, his facial and his limb muscles. The mask falls. The real self becomes visible. One only has to snap it with the camera. 

Susie Bright
[Writer, feminist, and activist, b. 1958, Arlington, Virginia, lives in Santa Cruz, California.]

 Photographs have always been the tar baby of censors and obscenity laws. Literature can certainly (if it’s any good) conjure up the most pornographic imagination. But photographs dare to be “real.” No matter how contrived or constructed they are, there’s that damn body staring you in the face. 

Stanley Cavell
[Philosopher, b. 1926, Atlanta, Georgia, lives in Brookline, Massachusetts.]

 Under examination by the camera, a human body becomes for its inhabitant a field of betrayal more than a ground of communication, and the camera’s further power is manifested as it documents the individual’s self-conscious efforts to control the body each time it is conscious of the camera’s attention to it. 
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