Wright Morris
[Writer and photographer, b. 1910, Central City, Nebraska, d. 1998, Mill Valley, California.]

 However much [photographs] may lie, they do so with the raw materials of truth. 

Nick Knight
[Photographer, b. 1958, London, England, lives in London.]

 I think photography has been wrestling with a burden of telling the truth, which I don’t think it was ever particularly good at. 

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

 Every photograph is a fake from start to finish. 

Michelangelo Antonioni
[Filmmaker, b. 1912, Ferrara, Italy, d. 2007, Rome.]

 We know that under the revealed image there is another one which is more faithful to reality, and under this one is yet another, and again another under this last one, down to the true image of that absolute, mysterious reality that nobody will ever see. Or perhaps, not until the decomposition of every image, of every reality. 

Taryn Simon
[Photographer, b. 1975, New York, lives in New York.]

 There are multiple truths attached to every image. 

Eddie Adams
[Photojournalist, b. 1933, New Kensington, Pennsylvania, d. 2004, New York.]

 People believe them, but photographs do lie, even without manipulation. They are only half-truths. 

Larry Clark
[Photographer and filmmaker, b. 1943, Tulsa, Oklahoma, lives in New York.]

 [Eugene Smith] was always writing these diatribes about truth, and how he wanted to tell the truth, the truth, the truth. It was a real rebel position. It was kind of like a teenager’s position: why can’t things be like they should be? Why can’t I do what I want? I latched on to that philosophy. One day I snapped, hey, you know, I know a story that no one’s ever told, never seen, and I’ve lived it. It’s my own story and my friends’ story. 

George Bernard Shaw
[Writer, critic, and dramatist, b. 1856, Dublin, d. 1950, Ayot St. Lawrence, Hertfordshire, England.]

 ... the eyes of artist had been so long educated to accept the most grossly fictitious conventions as truths of representation that many of the truths of the focusing-screen were at first repudiated as grotesque falsehoods. (1901) 
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