The photographer’s gesture as the search for a viewpoint onto a scene takes place within the possibilities offered by the apparatus. The photographer moves within specific categories of space and time regarding the scene: proximity and distance, bird- and worm’s-eye views, frontal- and side-views, short or long exposures, etc. The Gestalt of space–time surrounding the scene is prefigured for the photographer by the categories of his camera. These categories are an a priori for him. He must ‘decide’ within them: he must press the trigger.

The expression of satisfaction at the acts of torture one is inflicting on helpless, trussed, naked victims is only part of the story. There is the primal satisfaction of being photographed, to which one is more inclined to respond not with a stiff, direct gaze (as in former times) but with glee. The events are in part designed to be photographed. The grin is a grin for the camera. There would be something missing if, after stacking the naked men, you couldn't take a picture of them.

Photographs shock insofar as they show something novel.

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.

Normally, when one passes someone on the street who is in pain, one either tries to help him, or one simply looks the other way. With a photo there's no human decision; you're not there; you can't turn away; you simply gape. It's a form of voyeurism.

I'm often asked by students how a photographer gets over the fear and uneasiness in many people about facing a camera, and I just say that any sensitive man is bothered by a thing like that unless the motive is so strong and the belief in what he’s doing is so strong that it doesn’t matter. The important thing is to do the picture. And I advise people who are bothered by this to cure it by saying to themselves, what I’m doing is harmless to these people really, and there’s no malevolence in it and there’s no deception in it, and it is done in a great tradition, examples of which are Daumier and Goya. Daumier’s Third Class Carriage is a kind of snapshot of some actual people sitting in a railway carriage in France in eighteen-something.

In a war the normal codes of civilized behavior are suspended. It would be unthinkable in so-called normal life to go into someone's home where a family is grieving over the death of a loved one and spend long moments photographing them. It simply wouldn't be done. Those picture could not have been made unless I was accepted by the people I'm photographing. It's simply impossible to photograph moments such as those…without the complicity of the people I'm photographing…without the fact that the welcomed me, that they accepted me, that they wanted me to be there. They understand that a stranger who's come there with a camera to show the rest of the world what is happening to them…gives them a voice in the outside world that they otherwise wouldn't have. I try my best to approach people with respect. I want them to see that I have respect for them and the situation they're in. I want to be very open in my approach…feel open in my own heart towards them. I want them to be aware of that. People do sense it…with very few words…sometimes with no words at all.

The Photograph is violent: not because it shows violent tings, but because on each occasion (i)it fills the sight by force(i), and because in it nothing can be refused or transformed (that we can sometimes call it mild does not contradict its violence: many say that sugar is mild, but to me sugar is violent, and I call it so).

A photograph can be made with an uncorrected lens, or with no lens at all by making an exposure through a fine needle-hole in a thin metal disc, and the result may be a picture showing the characteristic virtue of photography, the rendering of infinitely delicate gradations of tone. This is where photography stands alone, and this is the distinguishing quality which has given it a place among the fine arts.

Beautifying is one classic operation of the camera, and it tends to bleach out a moral response to what is shown. Uglifying, showing something at its worst, is a more modern function: didactic, it invites an active response. For photographs to accuse, and possibly to alter conduct, they must shock.

The photogram, image formation outside the camera is the real key to photography,it embodies the essence... that allows us to capture light on light sensitive material without the use of any camera.

Taking a photograph is, it seems to me, a momentary revelation of an instance of the universal unity. The subject and I are one.

At the time of making a picture, I want not to know what I am doing.; a picture should me made with feeling, not with knowing.

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.