All photographs are there to remind us of what we forget. In this -- as in other ways -- they are the opposite of paintings. Paintings record what the painter remembers. Because each one of us forgets different things, a photo more than a painting may change its meaning according to who is looking at it.
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Unlike any other visual image, a photograph is not a rendering, an imitation or an interpretation of its subject, but actually a trace of it. No painting or drawing, however naturalist, belongs to its subject in the way that a photograph does.
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If photography is allowed to stand in for art in some of its functions it will soon supplant or corrupt it completely thanks to the natural support it will find in the stupidity of the multitude. It must return to its real task, which is to be the servant of the sciences and the arts, but the very humble servant, like printing and shorthand which have neither created nor supplanted literature.
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In America, the photographer is not simply the person who records the past, but the one who invents it.
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The painter constructs, the photographer discloses.
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No good is ever done to society by the pictorial representation of its diseases.
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It is not altogether wrong to say that there is no such thing as a bad photograph -- only less interesting, less relevant, less mysterious ones.
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The camera relieves us of the burden of memory. It surveys us like God, and it surveys for us. Yet no other god has been so cynical, for the camera records in order to forget.
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The camera can represent flesh so superbly that, if I dared, I would never photograph a figure without asking that figure to take its clothes off.
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Most modern reproducers of life, even including the camera, really repudiate it. We gulp down evil, choke at good.
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The photographic image... is a message without a code.
