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

 It is the camera that takes the picture; the photographer is a collaborator. 
 The camera eye is the one in the middle of our forehead, combining how we see with what there is to be seen. 
 All, or most, photographs have many faces. The face desired is revealed by the caption. 
 In the photographer’s aspiration to be an “artist” does he enlarge his own image at the expense of the photograph? 
 At this moment in photography’s brief history, the emergence and inflation of the photographer appears to be at the expense of the photograph, of the miraculous. (1978) 
 If I have the photograph, I can dispense with the artifact. 
 What photographs usually do, more than anything else, is authenticate... existence. Authentication, not enlargement or interpretation is what we want. 
 [The] recombining of the visual and the verbal, full of my own kind of unpeopled portraits, sought to salvage what I considered threatened, and to hold fast to what was vanishing. 
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