A photograph is not only an image (as a painting is an image), an interpretation of the real; it is also a trace, something directly stenciled off the real, like a footprint or a death mask.

to take a photograph is to participate in another person's mortality, vulnerability, mutability. precisely by slicing out this moment and freezing it, all photographs testify to time's relentless melt.

Photographs can reveal something to us, and they can also conceal things.

The Photograph is an extended, loaded evidence — as if it caricatured not the figure of what it represents (quite the converse) but its very existence ... The Photograph then becomes a bizarre (i)medium(i), a new form of hallucination: false on the level of perception, true on the level of time: a temporal hallucination, so to speak, a modest (o)shared(i) hallucination (on the one hand 'it is not there,' on the other 'but it has indeed been'): a mad image, chafed by reality.

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.

The photograph is literally an emanation of the referent. From a real body, which was there, proceed radiations which ultimately touch me, who am here; the duration of the transmission is insignificant; the photograph of the missing being, as Sontag says, will touch me like the delayed rays of a star.

A photograph can express silence.

Photographs provided a tangible reality to men who were far from home, fearful and tired; they were posed proofs of success, souvenirs to send to sweethearts and loved ones, or simply ways of remembering, of grasping a moment in a swift changing and uncertain world.

A way of certifying experience, taking photographs is also a way of refusing it — by limiting experience to a search for the photogenic, by converting experience into an image, a souvenir. Travel becomes a strategy for accumulating photographs.

For the photograph's immobility is somehow the result of a perverse confusion between two concepts: the Real and the Live: by attesting that the object has been real, the photograph surreptitiously induces belief that it is alive, because of that delusion which makes us attribute to Reality an absolute superior, somehow eternal value; but by shifting this reality to the past ('this-has-been'), the photograph suggests that it is already dead.

Photography records the gamut of feelings written on the human face, the beauty of the earth and skies that man has inherited, and the wealth and confusion man has created. [It is] a major force in explaining man to man.

Photography is more than a means of recording the obvious. It is a way of feeling, of touching, of loving. What you have caught on film is captured forever, whether it be a face or a flower, a place or a thing, a day or a moment. The camera is a perfect companion. It makes no demands, imposes no obligations. It becomes your notebook and your reference library, your microscope and your telescope. It sees what you are too lazy or too careless to notice, and it remembers little things, long after you have forgotten everything.

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.

Algo feo o grotesco puede ser conmovedor porque la atención del fotógrafo lo ha dignificado. Algo bello puede ser objeto de sentimientos tristes porque ha envejecido o decaído o ya no existe. Todas las fotografías son memento morí. Hacer una fotografía es participar de la mortalidad, vulnerabilidad, mutabilidad de otra persona o cosa. Precisamente porque seccionan un momento y lo congelan, todas las fotografías atestiguan la despiadada disolución del tiempo.