Susan Sontag
[Writer, theorist, and critic, b. 1933, New York, d. 2004, New York.]

 Newer technology provides a nonstop feed: as many images of disaster and atrocity as we can make time to look at. 

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

 There is in fact something obscene and sinister about photography, a desire to imprison, to incorporate, a sexual intensity of pursuit. 

George Rodger
[Photojournalist, b. 1908, Hale, Cheshire, England, d. 1995, Smarden, Kent, England.]

 When I discovered that I could look at the horror of Belsen—4,000 dead and starving lying around—and think only of a nice photographic composition, I knew something had happened to me and it had to stop. 

Lee Miller
[Photographer and model, b. 1907, Poughkeepsie, New York, d. 1976, Sussex, England.]

 I took some pictures of the place [Hitler’s residence] and I also got a good night’s sleep in Hitler’s bed. I even washed the dirt of Dachau in his tub. 

Edvard Munch
[Artist, b. 1863, Loten, Hedmark, Norway, d. 1944, Oslo, Norway.]

 The camera cannot compete with painting so long as it cannot be used in heaven and in hell. 

Lee Miller
[Photographer and model, b. 1907, Poughkeepsie, New York, d. 1976, Sussex, England.]

 No question that German civilians knew what went on. Railway into Dachau camp runs past villa, with trains of dead or semi-dead deportees. I usually don’t take pictures of horrors. But don’t think that every town and every area isn’t rich with them. I hope Vogue will feel it can publish these pictures. (Cable from German front, May, 1945) 

John Glenn
[Astronaut and politician, b. 1921, Cambridge, Ohio, lives in Washington D.C.]

 To hell with this. I’m going to go down to Cocoa Beach. (On being told by NASA that he couldn’t take a camera on his historic first space flight, forcing him to make a trip to a Florida drugstore where he bought the Ansco Autoset snapshot camera and two rolls of Kodak film he used on the flight.) 

Paul Virilio
[Writer and theorist, b. 1932, Paris, lives in La Rochelle, France.]

 ... the blinding Hiroshima flash... literally photographed the shadow cast by beings and things, so that every surface immediately became war’s recording surface, its film. 
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