The photographer both loots and preserves, denounces and consecrates.

...what I write is smarter than I am. Because I can rewrite it.

Detachment is the prerogative of an elite; and as the dandy is the nineteenth century's surrogate for the aristocrat in matters ofculture, so Camp is the modern dandyism. Camp is the answer to the problem: how to be a dandy in the age of mass culture.

Photography - the supreme form of travel, of tourism - is the principal modern means for enlarging the world. As a branch of art, photography's enterprise of world enlargement tends to specialize in the subjects felt to be challenging, transgressive. A photograph may be telling us: this too exists. And that. And that. (And it is all 'human.') But what are we to do with this knowledge - if indeed it is knowledge, about, say, the self, about abnormality, about ostracized or clandestine worlds?

Time eventually positions most photographs, even the most amateurish, at the level of art.

Nothing is mysterious, no human relation. Except love.

The highest vocation of photography is to explain man to man.