Martha Rosler
[Artist, b. 1943, Brooklyn, New York, lives in New York.]

 The question at hand is the danger posed to truth by computer-manipulated photographic imagery. How do we approach this question in a period in which the veracity of even the straight, unmanipulated photograph has been under attack for a couple of decades. 

Roger Ballen
[Photographer, b. 1950, New York, lives in Johannesburg, South Africa.]

 It is my belief that the most challenging photographs are those that create a tension between what we refer to as the real and the imaginative. 

Eleanor Antin
[Artist, b. 1935, New York, lives in San Diego, California.]

 I adore [photography’s] uneasy mix of fact and fiction—its dubious claim to truth—its status as history. 

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

 Standing alone, photographs promise an understanding they cannot deliver. In the company of words, they take on meaning, but they slough off one meaning and take on another with alarming ease. 

Errol Morris
[Documentary filmmaker, b. 1948, Hewlett, New York, lives in Cambridge, Massachusetts.]

 Photographs attract false beliefs the way flypaper attracts flies. 
 If you want to trick someone with a photograph, there are lots of easy ways to do it. You don’t need Photoshop. You don’t need sophisticated digital photo-manipulation. You don’t need a computer. All you need to do is change the caption. 

Philip Jones Griffiths
[Photojournalist, b. 1936, Rhuddian, Wales, d. 2008, London.]

 The twentieth century was the time of photography, when almost everything of importance was recorded and considered true because it was photographed. Nowadays nearly anyone can produce a photograph of Ladybird Johnson standing on the grassy knoll with a smoking gun in her hand and no one can prove it’s a fake. 

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

 However much [photographs] may lie, they do so with the raw materials of truth. 
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