Things People Carry

Things People Leave Behind

Are Always Slightly Outdated

Are Better The Second Time

Are Better When Shared

Are Mostly Memory

Become More Interesting The Closer You Get

Become More Interesting The Longer You Look

Become More Interesting With Age

Borrow Time

Carry Meaning

Carry Memory

Change Meaning Depending On Who Holds Them

Change Their Meaning Over Time

Clarify

Collect Stories

Confirm Reality

Create Attachment

Create Memory

Echo Back

Extend Memory

Fade

Feel Like Yesterday

Feel Overexposed

Follow You

Gather Dust In The Attic

Haunt You

Hide In A Dresser

Hit Close To Home

Improve By Having A History

Invite Inspection

Invite Stories

Look Back After You Pass

Look Back At You

Make A House Feel Lived In

Make The Invisible Visible

Make The Past Reachable

Make The World Feel Smaller

Make Time Visible

Need Context

Open Old Wounds

Organize Memory

Preserve

Recruit The Past

Reflect

Remain

Remember

Remember For Too Long

Remember For Us

Remember For You

Remember More Than They Should

Repay Attention

Rescue From Oblivion

Reward Attention

Reward Context

Reward Curiosity

Reward Fresh Eyes

Reward Inspection

Reward Observation

Reward Preservation

Reward Returning

Show Up At A Funeral

Sit In A Bookcase

Sit In A Drawer

Speak For Themselves

Spend The Past

stand in for something else

Turn Space Into Place

Turn Time Into Space

Verify

photograph

dad joke

toothpick

trivia

one-liner

my wife left me

photography

is a furnisher of evidence. Something seems proven when we're shown a photograph of something we have heard about or doubt.

Photographs furnish evidence. Something we hear about, but doubt, seems proven when we're shown a photograph of it.

Photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, and ethics of seeing.

is a little better than the work of an apache, but not quite so good as that of a cheyenne.

PHOTOGRAPH, n. A picture painted by the sun without instruction in art. It is a little better than the work of an Apache, but not quite so good as that of a Cheyenne.

is a mad image, a temporal hallucination that caricatures not figure, but time itself. It is a hallucination on the one hand in that 'it is not there,' on the other 'but it has indeed been'.

The Photograph is an extended, loaded evidence as if it caricatured not the figure of what it represents (quite the converse) but its very existence . . . The Photograph then becomes a bizarre (i)medium(i), a new form of hallucination: false on the level of perception, true on the level of time: a temporal hallucination, so to speak, a modest (o)shared(i) hallucination (on the one hand 'it is not there,' on the other 'but it has indeed been'): a mad image, chafed by reality. Roland Barthes

is a meeting place where the interests of the photographer, the photographed, the viewer and those who are using the photograph are often contradictory.

A photograph is a meeting place where the interests of the photographer, the photographed, the viewer and those who are using the photograph are often contradictory. These contradictions both hide and increase the natural ambiguity of the photographic image.John Berger

is a moral decision taken in one eighth of a second.

a photograph is a moral decision taken in one eighth of a second.

is a motionless image... this does not mean only that the figures it represents do not move... it means that they do not emerge and they do not leave: They are anesthetized and fastened down, like butterflies.

When we define the Photograph as a motionless image, this does not mean only that the figures it represents do not move... it means that they do not (i)emerge(i), do not (i)leave(i): they are anesthetized and fastened down, like butterflies. Roland Barthes

is a partial object, a collection of little features which delight and which are able to flatter certain fetishes in us.

Photography allows me to accede to an infra-knowledge... it supplies me with a collection of partial objects and can flatter a certain fetishism of mine: for this 'me' which like knowledge, which nourishes a kind of amorous preference for it. In the same way, I like certain biographical features which, in a writer's life, delight me as much as certain photographs... I have called these features 'biographemes'... Photography has the same relation to History that the biographeme has to biography. Roland Barthes

photograph, n.One-Liners

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photograph