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1 " A photograph is not necessarily a lie, but it isn’t the truth either. It’s more like a fleeting, subjective impression. "
― John Berger , Understanding a Photograph
2 " Every relation between forms in a painting is to some degree adaptable to the painter's purpose. This is not the case with photography. Composition in the profound, formative sense of the word cannot enter into photography. The true content of a photograph is invisible, for it derives from a play, not with form, but with time. One might argue that photography is as close to music as to painting. I have said that a photograph bears witness to a human choice being exercised. The choice is not between photographing X and Y: but between photographing at X moment or at Y moment. The objects recorded in any photograph (from the most effective to the most commonplace) carry approximately the same weight, the same conviction. What varies is the intensity with which we are made aware of the poles of absence and presence. A photograph, while recording what has been seen, always and by its nature refers to what is not seen. It isolates, preserves, and presents a moment taken from a continuum. The only decision (the still photographer) can take is as regards the moment he chooses to isolate. Yet this apparent limitation gives the photograph its unique power. The immediate relation between what is present and what is absent is particular to each photograph: it may be that of ice to sun, of grief to tragedy, of a smile to a pleasure, of a body to love, of a winning race-horse to the race it has run. "
3 " The photographic moment for Cartier-Bresson is an instant, a fraction of a second, and he stalks that instant as though it were a wild animal. The photographic moment for Strand is a biographical or historic moment, whose duration is ideally measured not by seconds but by its relation to a lifetime. Strand does not pursue an instant, but encourages a moment to arise as one might encourage a story to be told. "
4 " Truths are not constantly evident in the circumstances to which they refer. They are born - sometimes late. This truth was born with the struggles and wars of national libration. In the light of the newborn truth, the significance of imperialism changed. Its demands were seen to be different. Previously it had demanded cheap raw materials, exploited labour and a controlled world market. Today it demands a mankind that counts for nothing. "
5 " It is disgust at that particular kind of sordidness which exudes from those who now wield individual political power. This sordidness is not a confirmation of the abstract moral belief that all power corrupts. It is a specific historical and political phenomenon. It could not occur in a theocracy or a secure feudal society. It must await the principle of modern democracy and then the cynical manipulating of that principle. It is endemic in, but by no means exclusive to, latter-day bourgeois politics and advanced capitalism. It is nurtured from the gulf between the aims a politician claims and the actions he has in fact already decided upon. "
6 " The truth is that most photographs taken of people are about suffering, and most of that suffering is man-made. "
