The nineteenth-century way of looking at the photograph was as a mirror for the memory, and at that time the photographs almost looked like mirrors, with their polished metallic surfaces.

Full-color images lack the poignancy of monochrome... Black-and-white film inherently peels off interesting images from the world; it sees things we do not see, and thus insists on the existence of a phantom presence within reality, a world we cannot perceive.

The nineteenth-century way of looking at the photograph was as a mirror for the memory, and at that time the photographs almost looked like mirrors, with their polished metallic surfaces.

Photographs freed from the scientific bias can, and indeed usually do, have double meanings, implied meanings, unintended meanings, can hint and insinuate, and may even mean the opposite of what they apparently mean.

In a sense, photographs are highly literary, and the photographer, like the writer, has to be both a master of craft and a visionary. Patient accumulation of facts and then speculation about their meaning is the nature of authorship in both mediums.

In photography, the issue of the integration of form and content is exceptionally difficult because of the widely held belief that photographs must be a kind of vicarious experience of the subject itself.

You see in the photograph what you are.