A Quote by Judith Butler

Photography has a relation to intervention, but photographing is not the same as an intervening. — © Judith Butler
Photography has a relation to intervention, but photographing is not the same as an intervening.
People now know of the word intervention and think they understand what it means, but more often than not they go about intervening the wrong way. I see people staging things on their own. But discussing the nature of somebody's condition over breakfast isn't an intervention.
It has been important to me, as an historian of photography, to understand photography by photographing.
It was only after a while, after photographing mines and clear-cutting of forests in Maine, that I realized I was looking at the components of photography itself. Photography uses paper made from trees, water, metals, and chemistry. In a way, I was looking at all these things that feed into photography.
Government intervention is not solving the problems, and in fact the governments around the world that are intervening the most in their economies are struggling more.
[Photography] allows me to accede to an infra-knowledge; it supplies me with a collection of partial objects and can flatter a certain fetishism of mine: for this 'me' which like knowledge, which nourishes a kind of amorous preference for it. In the same way, I like certain biographical features which, in a writer's life, delight me as much as certain photographs; I have called these features 'biographemes'; Photography has the same relation to History that the biographeme has to biography.
People aren’t photographing for history any more. It’s for immediate gratification. If you’re photographing to share an image, you’re not photographing to keep it.
My only interest in photographing is photography.
It doesn't matter if you're photographing a porter in a market in Marrakech or you're photographing the king of Morroco. You have the same sympathetic approach to everybody. You be nice to everybody, basically.
[Photography] has become more and more subtle, more and more modern, and the result is that it is now incapable of photographing a tenement or a rubbish heap without transfiguring it. Not to mention a river dam or electric cable factory: in front of these, photography can now only say, How beautiful!
I try to use whatever I know about photography to be of service to the people I'm photographing.
Now that photography is a digital medium, the ghost of painting is coming to haunt it: photography no longer retains a sense of truth. I think that's great, because it frees photography from factuality, the same way photography freed painting from factuality in the mid-nineteenth century.
I'm not interested into victim photography. Photographing people suffering and putting it on a museum wall is too weird.
I consider myself very lucky. I'm known for photographing celebrities, but, in a nutshell, my first love is photography.
Photography is a life of learning. That's all I want from photography. I don't want the money. I don't need the fame. I don't need the admiration. I'd like all of those things, but I don't need them. Because what I get from photographing is learning. I have spent my life learning by looking through a lens.
I like capturing stuff that is disappearing - that’s the point of photography. What I am photographing is an imaginary place that never existed, but is connected to something that has already been.
Photojournalism is neither photography or journalism. It has its function but it's not where I see myself: the press is for me just a means for photographing, for material – not for telling the truth.
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