The taste for worst-case scenarios reflects the need to master fear of what is felt to be uncontrollable. It also expresses an imaginative complicity with disaster.

By furnishing this already crowded world with a duplicate one of images, photography makes us feel that the world is more available than it really is.

One cannot use the life to interpret the work. But One can use the work to interpret the life.

Interpretation is the revenge of the intellectual upon art.

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

The only ideals allowed are healthy ones - those everyone may aspire to, or comfortably imagine oneself possessing.

To photograph people is to violate them, by seeing them as they never see themselves, by having knowledge of them that they can never have; it turns people into objects that can be symbolically possessed. Just as a camera is a sublimation of the gun, to photograph someone is a subliminal murder - a soft murder, appropriate to a sad, frightened time.