Nicholas Nixon
[Photographer, b. 1947, Detroit, Michigan, lives in Brookline, Massachusetts.]

 [Digital is] the future. People will do terrific things in it, and it’s maybe better for color now. But I’m not interested in the way [this work] looks. So much is changed—veracity is lost. The quality of witness is compromised. (2005) 

Richard Avedon
[Photographer, b. 1923, New York, d. 2004, San Antonio, Texas.]

 I don’t really remember the day when I stood behind my camera with Henry Kissinger on the other side. I am sure he doesn’t remember it either. But this photograph is here now to prove that no amount of kindness on my part could make this photograph mean exactly what he—or even I—wanted it to mean. It’s a reminder of the wonder and terror that is a photograph. 

Andreas Feininger
[Photographer, b. 1906, Paris, France, d. 1999, New York.]

 Once a photographer is convinced that the camera can lie and that, strictly speaking, the vast majority of photographs are “camera lies,” inasmuch as they tell only part of a story or tell it in distorted form, half the battle is won. Once he has conceded that photography is not a naturalistic medium of rendition and that striving for “naturalism” in a photograph is futile, he can turn his attention to using a camera to make more effective pictures. 

Weegee (Usher Fellig)
[Photographer, b. 1899, Zlothew near Lemberg, Austrian Galicia (now Zolochiv, Ukraine), d. 1968, New York.]

 To me a photograph is a page from life, and that being the case, it must be real. 

Nora Ephron
[Writer, b. 1941, New York, d. 2012, New York.]

 That [photographs] disturb readers is exactly as it should be: that’s why photojournalism is often more powerful than written journalism. 

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

 Finally, photographs have become so much the leading visual experience that we now have works of art which are produced in order to be photographed. 
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