Robert Doisneau
[Photographer, b. 1912, Gentilly, Val-de-Marne, France, d. 1994, Montrouge, France.]

 A hundredth of a second here, a hundredth of a second there—even if you put them end to end, they still only add up to one, two, perhaps three seconds, snatched from eternity. 

Paul Graham
[Photographer, b. 1956, Stafford, England, lives in New York.]

 The “decisive moment” is bullshit. There are ten pictures before and ten pictures after every one of them: [Henri Cartier-Bresson] actually took thirty pictures of people leaping over that puddle. 

Peter Wollen
[Writer, theorist, filmmaker, b. 1938, London, lives in Los Angeles.]

 The aesthetic discussion of photography is dominated by the concept of time. Photographs appear as devices stopping time and preserving fragments of the past, like flies in amber. 

Susan Meiselas
[Photographer, b. 1948, Baltimore, Maryland, lives in New York.]

 It’s a strange experience… the photograph is like an object frozen in time, and people’s lives go on. 

Garry Winogrand
[Photographer, b. 1928, New York, d. 1984, Tijuana, Mexico.]

 What photograph isn’t a still life? 

Alfred Stieglitz
[Photographer and curator, b. 1864, Hoboken, New Jersey, d. 1946, New York.]

 Something happens, it’s a thousandth part of a fleeting second. It’s up to the photographer to capture that on film, because like a dying day, the thing will never come back again. (Quoted by Weegee, 1958) 

Robert Frank
[Photographer and filmmaker, b. 1924, Zürich, Switzerland, lives in Mabou, Cape Breton, Nova Scotia, Canada, and New York.]

 It’s not the decisive moment. It’s not the beginning or end. It’s the middle. It’s more like a question. 

Walker Evans
[Photographer, b. 1903, St. Louis, Missouri, d. 1975, New Haven, Connecticut.]

 Evans was, and is, interested in what any present time will look like as the past. (An unpublished note characterizing his own work) 
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