Christian Boltanski
[Artist, b. 1944, Paris, lives in Paris.]
Photography is used to give evidence, and the evidence is always deceiving. 
Stephen Shore
[Photographer, b. 1947, New York, lives in New York.]
It’s the bane of my existence that I see photography not as a way of recording personal experience particularly, but as this process of exploring the world and the medium. I have to be reminded, “It’s your son’s birthday party. Bring a camera.” And then, when I’m there, “Take a picture,” because it doesn’t occur to me to use it as this memorializing thing. R. Crumb
[Cartoonist, b. 1943, Philadelphia, Pennsylvania, lives in Sauve, France.]
They were just snapshots, nothing special, nothing particularly artistic. They were used for utility purposes.(On photographs of mundane streetscapes he had “Stanley Something-or-other” take in Sacramento in 1988 to serve as backgrounds to his cartoons. “People don’t draw it, all this crap, people don’t focus attention on it because it’s ugly, it’s bleak, it’s depressing... But, this is the world we live in; I wanted my work to reflect that, the background reality of urban life.”)
Chuck Close
[Artist, b. 1940, Monroe, Washington, lives in New York.]
When I went to pick [artist Joe Zucker] up to photograph him, I didn’t recognize him. He has curly, blonde, bushy hair—but he had bought a jar of Vaseline, greased his hair down, borrowed someone’s white shirt and tie, someone else’s glasses, and he looked like a used car salesman. He understood that all he had to do was provide me with the evidence that someone like that existed for a 100th of a second. It didn’t necessarily have to be him. Rosalind Krauss
[Writer, critic, and historian, b. 1941, Washington, D.C., lives in New York.]
Every photograph is the result of a physical imprint transferred by light reflections onto a sensitive surface. The photograph is thus a type of icon, or visual likeness, which bears an indexical relationship to its object. Geoffrey Batchen
[Photohistorian, b. 1956, Australia, lives in Wellington, New Zealand.]
The main difference seems to be that, whereas photography still claims some sort of objectivity, digital imaging is an overtly fictional process. As a practice that is known to be capable of nothing but fabrication, digitization abandons even the rhetoric of truth that has been such an important part of photography’s cultural success. 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. Siegfried Kracauer
[Media critic and sociologist, b. 1889, Frankfurt, Germany, d. 1966, New York.]
The question is whether the image decisively catches reality. (1930)