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 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.

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.

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.

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

Photography for me is not looking, it's feeling. If you can't feel what you're looking at, then you're never going to get others to feel anything when they look at your pictures.

La foto del amante escondida en la billetera de una mujer casada, el cartel fotográfico de una estrella de rock fijado sobre la cama de una adolescente, el retrato de propaganda del político prendido a la solapa del votante, las instantáneas de los hijos del taxista en la visera: todos los usos talismánicos de las fotografías expresan una actitud sentimental e implícitamente mágica; son tentativas de alcanzar o apropiarse de otra realidad.

"Son múltiples los usos para las incontables oportunidades que depara la vida moderna de mirar — con distancia, por el medio de la fotografía — el dolor de otras personas. Las fotografías de una atrocidad pueden producir reacciones opuestas. Una llamada a la paz. Un grito de venganza. O simplemente la confundida conciencia, repostada sin pausa de información fotográfica, de que suceden cosas terribles."

Susan Sontag| Ante el dolor de los demás.

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.

To photograph is to appropriate the thing photographed.

You only have to start saying of something : 'Ah, how beautiful ! We must photograph it !' and you are already close to the view of the person who thinks that everything that is not photographed is lost, as if it never existed, and therefore in order to really live you must photograph as much as you can, and to photograph as much as you can you must either live in the most photographable way possible, or else consider photographable every moment of your life.

Photography is not about seeing, but about Knowing. Going so deeply into the subject, whatever, whoever, that you find the spirit within. And then you memorialize it for others to also Know.

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.