"I believe in equality for everyone, except reporters and photographers."
— Mahatma Gandhi

""A picture is a secret about a secret, the more it tells you the less you know." "
— Diane Arbus

"To photograph people is to violate them, by seeing them as they never see themselves, by having knowledge of them that they can never have; it turns people into objects that can be symbolically possessed. Just as a camera is a sublimation of the gun, to photograph someone is a subliminal murder - a soft murder, appropriate to a sad, frightened time."
— Susan Sontag (On Photography)

"All photographs are memento mori. To take a photograph is to participate in another person’s (or thing’s) mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time’s relentless melt."
— Susan Sontag

"To photograph is to hold one's breath, when all faculties converge to capture fleeting reality. It's at that precise moment that mastering an image becomes a great physical and intellectual joy."
— Henri Cartier-Bresson (The Mind's Eye: Writings on Photography and Photographers)

"Taking pictures is savoring life intensely, every hundredth of a second."
— Marc Riboud

"Today everything exists to end in a photograph."
— Susan Sontag

"It is a cruel, ironical art, photography. The dragging of captured moments into the future; moments that should have been allowed to be evaporate into the past; should exist only in memories, glimpsed through the fog of events that came after. Photographs force us to see people before their future weighed them down...."
— Kate Morton (The House at Riverton)

"For me, the camera is a sketch book, an instrument of intuition and spontaneity."
— Henri Cartier-Bresson

"He owned an expensive camera that required thought before you pressed the shutter, and I quickly became his favorite subject, round-faced, missing teeth, my thick bangs in need of a trim. They are still the pictures of myself I like best, for they convey that confidence of youth I no longer possess, especially in front of a camera."
— Jhumpa Lahiri (Unaccustomed Earth)

" "A good snapshot keeps a moment from running away." -E. Welty"
— E. Welty

"Above all, life for a photographer cannot be a matter of indifference"
— Robert Frank

"A photographer is like a cod, which produces a million eggs in order that one may reach maturity."
— George Bernard Shaw

"A photograph is a moral decision taken in one eighth of a second. "
— Salman Rushdie (The Ground Beneath Her Feet)

"I would never understand photography, the sneaky, murderous taxidermy of it. "
— Lorrie Moore (Anagrams)

"We are working guys, not artists."
— Jack Lenahan

"Most of Arbus's work lies within the Warhol aesthetic, that is, defines itself in relation to the twin poles of boringness and freakishness; but it doesn't have the Warhol style. Arbus had neither Warhol's narcissism and genius for publicity nor the self-protective blandness with which he insulates himself from the freaky nor his sentimentality. It is unlikey that Warhol, who comes from a working-class family, ever felt any ambivalence toward success which afflicted the children of the Jewish upper middle classes in the 1960s. To someone raised as a Catholic, like Warhol (and virtually everyone in his gang), a fascination with evil comes much more genuinely than it does to someone from a Jewish background. Compared with Warhol, Arbus seems strikingly vulnerable, innocent--and certainly more pessimistic. Her Dantesque vision of the city (and the suburbs) has no reserves of irony. Although much of Arbus's material is the same as that depicted in, say, Warhol's Chelsea Girls (1966)...For Arbus, both freaks and Middle America were equally exotic: a boy marching in a pro-war parade and a Levittown housewife were as alien as a dwarf or a transvestite; lower-middle-class suburbia was as remote as Times Square, lunatic asylums, and gay bars. Arbus's work expressed her turn against what was public (as she experienced it), conventional, safe, reassuring--and boring--in favor of what was private, hidden, ugly, dangerous, and fascinating. These contrasts, now, seem almost quaint. What is safe no long monopolizes public imagery. The freakish is no longer a private zone, difficult of access. People who are bizarre, in sexual disgrace, emotionally vacant are seen daily on the newsstands, on TV, in the subways. Hobbesian man roams the streets, quite visible, with glitter in his hair."
— Susan Sontag, "On Photography"

""I know the best moments can never be captured on film, even as I spend nearly half my life trying to do just that.""
— Rosie O'Donnell

"A portrait is not a likeness. The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion. There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is the truth. "
— Richard Avedon

"What's really important is to simplify. The work of most photographers would be improved immensely if they could do one thing: get rid of the extraneous. If you strive for simplicity, you are more likely to reach the viewer. "
— William Albert Allard

"The camera is an instrument that teaches people how to see without a camera."
— Dorothea Lange

"It is photography itself that creates the illusion of innocence. Its ironies of frozen narrative lend to its subjects an apparent unawareness that they will change or die. It is the future they are innocent of. Fifty years on we look at them with the godly knowledge of how they turne dout after all - who they married, the date of their death - with no thought for who will one day be holding photographs of us."
— Ian McEwan (Black Dogs)

"The camera would miss it all. A magnificent picture is never worth a thousand perfect words. Ansel Adams can be a great artist, but he can never be Shakespeare. His tools are too literal."
— John Dunning (The Bookman's Wake)

"I don't just look at the thing itself or at the reality itself; I look around the edges for those little askew moments-kind of like what makes up our lives-those slightly awkward, lovely moments."
— Keith Carter

"In an initial period, Photography, in order to surprise, photographs the notable; but soon, by a familiar reversal, it decrees notable whatever it photographs. The 'anything whatever' then becomes the sophisticated acme of value."
— Roland Barthes (Camera Lucida: Reflections on Photography)

"It is as if the Photograph always carries its referent with itself, both affected by the same amorous or funereal immobility, at the very heart of the moving world: they are glued together, limb by limb, like the condemned man and the corpse in certain tortures; or even like those pairs of fish (sharks, I think, according to Michelet) which navigate in convoy, as though united by an eternal coitus."
— Roland Barthes (Camera Lucida: Reflections on Photography)

"I want a History of Looking. For the Photograph is the advent of myself as other: a cunning dissociation of consciousness from identity. Even odder: it was before Photography that men had the most to say about the vision of the double. Heautoscopy was compared with an hallucinosis; for centuries this was a great mythic theme."
— Roland Barthes (Camera Lucida: Reflections on Photography)

"For me the noise of Time is not sad: I love bells, clocks, watches — and I recall that at first photographic implements were related to techniques of cabinetmaking and the machinery of precision: cameras, in short, were clocks for seeing, and perhaps in me someone very old still hears in the photographic mechanism the living sound of the wood."
— Roland Barthes (Camera Lucida: Reflections on Photography)

"I feel that the Photograph creates my body or mortifies it, according to its caprice (apology of this mortiferous power: certain Communards paid with their lives for their willingness or even their eagerness to pose on the barricades: defeated, they were recognized by Thiers's police and shot, almost every one)."
— Roland Barthes (Camera Lucida: Reflections on Photography)

"These are the two basic controls at the photographer's command--position and timing--all others are extensions, peripheral ones, compared to them"
— David Hurn

"[S]chon seit der Erfindung der Fotografie wird um deren Echtheit gestritten, weil die Fotografie wohl nie eine Abbildung der Wirklichkeit war, sondern allenfalls ein Vorschlag, wie die Welt zu sehen ist."
— Henning Sussebach

"A recurrent question about photography is how much self expression it allows the photographer. There are two standard positions, each corresponding to a different location oh photographic skill. The opposition is neatly summed up in Bioy Casares’s novel The Adventures of a Photographer in La Plata (1989). The hero Nicolasito Almanza declares: ‘I am convinced that all of photography depends on the moment we press the release […] I believe that you’re a photographer if you know exactly when to press the release.’ In making this declaration he is responding to the opinion expressed by Mr Gruter, owner of a photographic laboratory: ‘[…] sometimes I wonder if the true work of the photographer doesn’t begin in the dark room, amid the trays and the enlarger.’"
— Clive Scott (Spoken Image)

"But I've always been a sucker for externals alone: the shape, the shine, what the surface suggests to my palm. So mechanically disinclined it's verging on criminal, I never understood the beauty of an object's workings until Linny sat my reluctant self down one day and showed me her camera. Within fifteen minutes, I had fallen hard for the whole gadgety, eyelike nature of the thing: a tiny piece of glass slowing, bending, organizing light - light - into your grandmother, the Grand Canyon, the begonia on the windowsill, the film keeping the image like a secret. Grandmother, canyon, begonia tucked neatly into the sleek black box, like bugs in a jar. My mind boggled."
— Marisa de los Santos (Belong to Me: A Novel)

"Always seeing something, never seeing nothing, being photographer"
— Walter De Mulder

"We regard the photograph, the picture on our wall, as the object itself (the man, landscape, and so on) depicted there. This need not have been so. We could easily imagine people who did not have this relation to such pictures. Who, for example, would be repelled by photographs, because a face without color and even perhaps a face in reduced proportions struck them as inhuman."
— Ludwig Wittgenstein

"Hence the detail which interests me is not, or at least is not strictly intentional, and probably must not be so; it occurs in the field of the photographed thing like a supplement that is at once inevitable and delightful; it does not necessarily attest to the photographer's art; it says only that the photographer was there, or else, still more simply, that he could not (i)not(i) photograph the partial object at the same time as the total object (how could Kerész have 'separated' the dirt road from the violinist walking on it?). The Photographer's 'second sight' does not consist in 'seeing' but in being there. And above all, imitating Orpheus, he must not turn back to look at what he is leading — what hi is giving to me!"
— Roland Barthes (Camera Lucida: Reflections on Photography)

"It is by studium that I am interested in so many photographs, whether I receive them as political testimony or enjoy them as good historical scenes: for it is culturally (this connotation is present in studium) that I participate in the figures, the faces, the gestures, the settings, the actions."
— Roland Barthes (Camera Lucida: Reflections on Photography)

"[Photography] allows me to accede to an infra-knowledge; it supplies me with a collection of partial objects and can flatter a certain fetishism of mine: for this 'me' which like knowledge, which nourishes a kind of amorous preference for it. In the same way, I like certain biographical features which, in a writer's life, delight me as much as certain photographs; I have called these features 'biographemes'; Photography has the same relation to History that the biographeme has to biography."
— Roland Barthes (Camera Lucida: Reflections on Photography)

"We know the original relation of the theater and the cult of the Dead: the first actors separated themselves from the community by playing the role of the Dead: to make oneself up was to designate oneself as a body simultaneously living and dead: the whitened bust of the totemic theater, the man with the painted face in the Chinese theater, the rice-paste makeup of the Indian Katha-Kali, the Japanese No mask ... Now it is this same relation which I find in the Photograph; however 'lifelike' we strive to make it (and this frenzy to be lifelike can only be our mythic denial of an apprehension of death), Photography is a kind of primitive theater, a kind of Tableau Vivant, a figuration of the motionless and made-up face beneath which we see the dead."
— Roland Barthes (Camera Lucida: Reflections on Photography)

"Perhaps the central question about [Eliot] Porter's work is about the relationship between science, aesthetics, and environmental politics. His brother, the painter and critic Fairfield Porter, wrote in a 1960 review of [Porter's] colour photographs: 'There is no subject and background, every corner is alive,' and this suggests what an ecological aesthetic might look like. "
— Rebecca Solnit (Storming the Gates of Paradise: Landscapes for Politics)

"What pricks me is the discovery of this equivalence. In front of the photograph of my mother as a child, I tell myself: She is going to die: I shudder… over a catastrophe which has already occurred. Whether or not the subject is already dead, every photograph is this catastrophe."
— Roland Barthes (Camera Lucida: Reflections on Photography)

"The incapacity to name is a good symptom of disturbance."
— Barthes Roland (Camera Lucida: Reflections on Photography)

"To consult the rules of composition before making a picture is a little like consulting the law of gravitation before going for a walk."
— Edward Weston