The Photograph (n.) is a furnisher of evidence. Something seems proven when we're shown a photograph of something we have heard about or doubt.
The Photograph (n.) is a grammar and an ethics of seeing.
A Photograph (n.) is a piece of evidence in an ongoing biography of history. Unlike one painting, one photograph implies that there will be others.
The Photograph (n.) is a trace rather than a construction but it is not a transparency of something that happened. It is always the image that someone chose... to photograph is to frame, and to frame is to exclude.
A Photograph (n.) is a way of imprisoning reality. . . One can't possess reality, one can possess images-- one can't possess the present but one can possess the past.
The Photograph (n.) is an object which fiddles with the scale of the word, packaging it, and itself inviting being packed itself, framed and set on tables, tacked on walls, projected as slides.
The Photograph (n.) is as much an interpretation of the world as paintings and drawings are.
The Photograph (n.) is both a looting and a preservation, a denunciation and consecration.
A Photograph (n.) is both a pseudo-presence and a token of absence. It is an incitement to revery like a wood fire in a room. This is especially true of those photographs of people, of distant landscapes and faraway cities, of the vanished past.
The Photograph (n.) is insofar as it acts as a necessary confirmation or enhancement of experience, a component of our of aesthetic consumerism and addiction and an example of how industrial societies have mentally polluted their citizens and turned them into image-junkies.
The Photograph (n.) is less a statement about the world so much as a piece of it, a miniature of reality that anyone can make or acquire.
The Photograph (n.) is like a quotation, or a maxim, or a proverb. Each of us mentally stocks hundreds of photographs, subject to instant recall.
A Photograph (n.) is more memorable than moving images because they are a neat slice of time, not a flow. Each still photograph is a privileged moment turned into a slim object that one can keep and look at again.
The Photograph (n.) is not merely something through which people remember... it is that only the photograph is remembered.
A Photograph (n.) is not only an interpretation of the real. It is also a trace, something directly stencilled off the real, like a footprint or a death mask.
The Photograph (n.) is not simply a recording, but it has become the norm for the way things appear to us, thereby changing the very idea of reality and of realism.
A Photograph (n.) is quite unlike life, a significant detail that is illuminated by a flash and fixed forever.
The Photograph (n.) is responsible for teaching us a new visual code. It alters and enlarges our notions of what is worth looking at and what we have a right to observe. Photographs are a grammar and, even more importantly, an ethics of seeing.
The Photograph (n.) is so dominant a mode of representation that one might rewrite mallarme's famed statement on the book with the phrase: Today everything exist to end in a photograph.
A Photograph (n.) shocks insofar as it shows something novel.