Nadar (Gaspard-Félix Tournachon)
[Photographer, b. 1820, Paris, d. 1910, Paris.]

 As for the portrait, it is time to have done with the reproach that the photographer cannot convey so well as the painter the intimate and artistic feeling of his sitter. The photograph takes the law into its own hands. Psychological insight is not reserved for painters alone and they know it. (1856) 

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. 

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

 I love painting. As far as photography is concerned, I understand nothing. 

Max Dupain
[Photographer, b. 1911, Sidney, Australia, d. 1992, Sidney.]

 The photograph is concerned with showing actual life often beyond the scope of the human eye, the painting is a symbol of life and fused with the spiritual interpretation of the painter. The former is objective, the later is subjective and never the twain shall meet. (1947) 

Edward Steichen
[Photographer and curator, b. 1879, Luxembourg, Germany, d. 1973, West Redding, Connecticut.]

 Photography is a medium of formidable contradictions. It is both ridiculously easy and almost impossibly difficult. It is easy because its technical rudiments can readily be mastered by anyone with a few simple instructions. It is difficult because, while the artist working with any other medium begins with a blank surface and gradually brings his conception into being, the photographer is the only image-maker who begins with his picture completed. His emotions, his knowledge, and his native talent are brought into focus and fixed beyond recall the moment the shutter of his camera has closed. 

Oscar Rejlander
[Photographer, b. 1817, Sweden, d. 1875, London.]

 I believe photography will make painters better artists and more careful draughtsmen. You may test their figures by photography. In Titian’s Venus and Adonis, Venus has her head turned in a manner that no female could turn it and at the same time shows so much of her back. Her right leg also is too long. I have proved the correctness of this opinion by photography with variously shaped female models. (1863) 

Geoffrey Batchen
[Photohistorian, b. 1956, Australia, lives in Wellington, New Zealand.]

 Over the past two decades, the boundary between photography and other media like painting, sculpture, or performance has become increasingly porous. It would seem that each medium has absorbed the other, leaving the photographic residing everywhere, but nowhere in particular. 
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