...to photograph is to frame, and to frame is to exclude.
By furnishing this already crowded world with a duplicate one of images, photography makes us feel that the world is more available than it really is.
The painter constructs, the photographer discloses.
In America, the photographer is not simply the person who records the past, but the one who invents it.
A family's photograph album is generally about the extended family and, often, is all that remains of it.
Today everything exists to end in a photograph.
Instead of just recording reality, photographs have become the norm for the way things appear to us, thereby changing the very idea of reality and of realism.
To photograph is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge-and therefore, like power.
It is a nostalgic time right now, and photographs actively promote nostalgia. Photography is an elegiac art, a twilight art. Most subjects photographed are, just by virtue of being photographed, touched with pathos. ... All photographs are memento mori. To take 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
Mallarme said that everything in the world exists in order to end in a book. Today everything exists to end in a photograph.
While a painting, even one that meets photographic standards of resemblance, is never more than the stating of an interpretation, a photograph is never less than the registering of an emanation (light waves reflected by objects) — a material vestige of its subject in a way that no painting can be.
The possession of a camera can inspire something akin to lust. And like all credible forms of lust, it cannot be satisfied.
To photograph is to confer importance.
Cameras began duplicating the world at that moment when the human landscape started to undergo a vertiginous rate of change: while an untold number of forms of biological and social life are being destroyed in a brief span of time, a device is available to record what is disappearing.
In photographing dwarfs, you don't get majesty & beauty. You get dwarfs.
As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art.
In contrast to the written account-which, depending on its complexity of thought, reference, and vocabulary, is pitched at a larger or smaller readership-a photograph has only one language and is destined potentially for all.
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.
Photographs trade simultaneously on the prestige of art and the magic of the real.
Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood.
It seems positively unnatural to travel without taking a camera along... The very activity of taking pictures is soothing and assuages general feelings of disorientation that are likely to be exacerbated by travel.
The two ideas are antithetical. Insofar as photography is (or should be) about the world, the photographer counts for little, but insofar as it is the instrument of intrepid, questioning subjectivity, the photographer is all.
Photographs objectify: they turn an event or a person into something that can be possessed.
Although photography generates works that can be called art-it requires subjectivity, it can lie, it gives aesthetic pleasure-photography is not, to begin with, an art form at all. Like language, it is a medium in which works of art (among other things) are made.
A photograph comes into being, as it is seen, all at once.
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