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 eroticfeelings of those for whom desirability is enhanced by distance.

The photographer is now charging real beasts, beleaguered and too rare to kill. Guns have metamorphosed into cameras in this earnest comedy, the ecology safari, because nature has ceased to be what it always had been - what people needed protection from. Now nature - tamed, endangered, mortal - needs to be protected from people. When we are afraid, we shoot. But when we are nostalgic, we take pictures.

To us, the difference between the #‎ photographer as an individual eye and the photographer as an objective recorder seems fundamental, the difference often regarded, mistakenly, as separating photography as art from #‎ photography as document. But both are logical extensions of what photography means: note-taking on, potentially, everything in the world, from every possible angle.

Paintings invariably sum up; photographs usually do not. Photographic images are pieces of evidence in an ongoing biography or history. And one photograph, unlike one painting, implies that there will be others.

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.

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.

Images anesthetize. An event known through photographs certainly becomes more real than it would have been if one had never seen the photographs ... But after repeated exposure to images it also becomes less real. ... 'concerned' photography has done at least as much to deaden conscience as to arouse it.