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.

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.

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 as they never see themselves, by having knowledge of them they can never have; it turns people into objects that can be symbolically possessed.

To photograph is to appropriate the thing photographed.

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.

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.

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.

A photograph is both a pseudo-presence and a token of absence. Like a wood fire in a room, photographs — especially those of people, of distant landscapes and faraway cities, of the vanished past — are incitements to reverie. The sense of the unattainable that can be evoked by photographs feeds directly into the erotic
feelings of those for whom desirability is enhanced by distance.

Photographs objectify: they turn an event or a person into something that can be possessed.

Ultimately, we all become photographs.

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.

The purpose of photography is the transmission of a visualized sector of life through the medium of the camera into a mental process that starts with the photographer's thinking about the subject he photographs and is continued in the mind of the spectator.

Photography is a hunt. But one that ends in the immortality of the prey, rather than the prey’s death.