George Trow
[Writer and critic, b. 1943, New York, d. 2006, Naples, Italy.]

 There was a time when photographers were thought to be socially secondary, and, hence, not dangerous. Lincoln was more important than Brady. It didn’t occur to anyone to worry about the manner in which a photograph was taken. 

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

 If Instagram had been available when I was working in Nicaragua in 1978, I’m sure I would have wanted to use it as a way of reporting directly from the streets during the insurrection. 

Lewis Mumford
[Writer and critic, b. 1895, Flushing, New York, d. 1990, New York.]

 A picture was once a rare sort of symbol, rare enough to call for attentive concentration. Now it is the actual experience that is rare, and the picture has become ubiquitous. 

Marshall McLuhan
[Writer and theorist, b. 1911, Edmonton, Alberta, Canada, d. 1980, Toronto, Canada.]

 Once we have surrendered our senses and nervous systems to the private manipulation of those who would try to benefit from taking a lease on our eyes and ears and nerves, we don’t really have any rights left. 

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

 Though photographs, the world becomes a series of unrelated, free-standing particles; and history, past and present, a set of anecdotes and faits divers. The camera makes reality atomic, manageable, and opaque. It is a view of the world which denies interconnectedness, continuity, but which confers on each moment the character of a mystery. 

John Berger
[Writer and critic, b. 1926, London, d. 2017, Paris.]

 If everything that existed were continually being photographed, every photograph would become meaningless. 

Tee Corinne
[Photographer and artist, b. 1943, St. Petersburg, Florida, d. 2006, Sunny Valley, Oregon.]

 The images we see, as a culture, help define and expand our dreams, our perceptions of what is possible. Pictures of who we are help us visualize who we can be. 

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

 Human experience comes suspended in the sickly-sweet amniotic fluid of commercial photography. And a world normally animated by abrasive differences is blithely reduced to a single, homogeneous National Geographic way of seeing. 
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