When we read a story, we inhabit it. The covers of the book are like a roof and four walls. What is to happen next will take place within the four walls of the story. And this is possible because the story's voice makes everything its own.

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.

Fanaticism comes from any form of chosen blindness accompanying the pursuit of a single dogma.

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.

It is comparatively easy to achieve a certain unity in a picture by allowing one colour to dominate, or by muting all the colours. Matisse did neither. He clashed his colours together like cymbals and the effect was like a lullaby.

Propaganda requires a permanent network of communication so that it can systematically stifle reflection with emotive or utopian slogans. Its pace is usually fast.

It can happen that a book, unlike its authors, grows younger as the years pass.