Photographs are a way of imprisoning reality, understood as recalcitrant, inaccessible; of making it stand still. One can't possess reality, one can possess (and be possessed by) images — as, according to Proust, most ambitious of voluntary prisoners, one can't possess the present but one can possessthe past.

The fear of becoming old is born of the recognition that one is not living now the life that one wishes.

The whole point of Camp is to dethrone the serious. Camp is playful, anti-serious. More precisely, Camp involves a new, more complex relation to "the serious." One can be serious about the frivolous, frivolous about the serious.

I envy paranoids; they actually feel people are paying attention to them.

Our appreciations, it was felt, could be so much more inclusive if we said that something, instead of being beautiful, was 'interesting'.

To us, the difference between the #‎ photographer as an individual eye and the photographer as an objective recorder seems fundamental, the difference often regarded, mistakenly, as separating photography as art from #‎ photography as document. But both are logical extensions of what photography means: note-taking on, potentially, everything in the world, from every possible angle.

There are some elements in life - above all, sexual pleasure - about which it isn't necessary to have a position.