Walker Evans
[Photographer, b. 1903, St. Louis, Missouri, d. 1975, New Haven, Connecticut.]
I am stalking, as in the hunt. What a bagful to be taken home.
(On his “subway series.”) 
Susan Sontag
[Writer, theorist, and critic, b. 1933, New York, d. 2004, New York.]
In some way I would suggest that photography is not so much an art as a meta-art. It’s an art which devours other art... photography takes the whole world as its subject, cannibalizes all art forms, and converts them into images. And in that sense it seems a peculiarly modern art form.
D.H. Lawrence
[Writer, b. 1885, Eastwood, Nottinghamshire, England, d. 1930, Vence, France.]
Tackle the world. Its [sic] a rather stupid bull, to be taken by the horns, not dodged.
(To Edward Weston, 1924)
A.D. Coleman
[Critic and writer, b. 1943, New York, lives in New York.]
The simple fact is this: There are no neutral photographs.
Sophia Loren (Sofia Villani Scicolone)
[Actress, b. 1934, Rome, lives in Geneva.]
[William] Klein has eyes like a knife. He is ruthless and outrageous but never mean—he is tender and funny and violent—and, I’m sure, really in love with our crazy Rome.
Helmut Newton
[Photographer, b. 1920, Berlin, d. 2004, Los Angeles.]
I was a contributor for Playboy for about twenty years. My work was even too risky for Playboy. They asked me—“Please do something for us, but nothing as kinky as what you do for French Vogue.”
Tom Wolfe
[Writer, b. 1930, Richmond, Virginia, d. 2018, New York.]
Then 1967’s Photographer of the Century made his entrance at a dead run, carrying a stroboscopic 35mm camera. He bolted into the tubercular-blue gleam of the room and hurled himself toward the floor, feet first like a baseball player going into second base. He slid ... an ectomorphic sliver... sweeping through one and all, flailing away at the film advance lever of his camera, squeezing off six, eight, ten pictures about calf level during his furious skid. Stroboscopic lights burst all around. They were like rockets.
Dennis Grady
[lives in South Pomfret, Vermont.]
Display of the captive before the camera lens, the condition Crazy Horse so ardently avoided, quickly became a ritual of power. The U.S. Cavalry photographically documented hundreds of captive Indians along their forced marches to penal colony reservations, and such images are commonplace in histories of the West.
