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.

In contrast to the written account-which, depending on its complexity of thought, reference, and vocabulary, is pitched at a larger or smaller readership-a photograph has only one language and is destined potentially for all.

Ultimately ideas come out of a temperament or a sensibility, they are a crystallization or a precipitation of temperament.

Creativity needs to be taken care of. It's like a big baby that needs to be nourished.

As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art.

It's not 'natural' to speak well, eloquently, in an interesting, articulate way. People living in groups, families, communes say little - have few verbal means. Eloquence - thinking in words - is a byproduct of solitude, deracination, a heightened painful individuality. In groups, it's more natural to sing, to dance, to pray: given, rather than invented (individual) speech.

It's beginnings that are hard. I always begin with a great sense of dread and trepidation. Nietzsche says that the decision to start writing is like leaping into a cold lake.