A Quote by Susan Sontag

The photograph is like a quotation, or a maxim or proverb. Each of us mentally stocks hundreds of photographs, subject to instant recall. — © Susan Sontag
The photograph is like a quotation, or a maxim or proverb. Each of us mentally stocks hundreds of photographs, subject to instant recall.
Because each photograph is only a fragment, its moral and emotional weight depends on where it is inserted. A photograph changes according to the context in which it is seen: thus Smith's Minamata photographs will seem different on a contact sheet, in a gallery, in a political demonstration, in a police file, in a photographic magazine, in a book, on a living-room wall. Each o these situations suggest a different use for the photographs but none can secure their meaning.
Each time I arrived in a new city, I'd get lost in the streets and photograph everything that looked interesting, taking nearly a thousand photographs every day. After each day of shooting, I'd select 30 or 40 of my favorite photographs and post them on Facebook. I named the albums after my first impression of each city.
I think you reveal yourself by what you choose to photograph, but I prefer photographs that tell more about the subject. There's nothing much interesting to tell about me; what's interesting is the person I'm photographing, and that's what I try to show. [...] I think each photographer has a point of view and a way of looking at the world... that has to do with your subject matter and how you choose to present it. What's interesting is letting people tell you about themselves in the picture.
I'm a miracle man, things happen which I don't plan, I've never planned anything. Whatsoever I do, I want it to be an instant action object, instant reaction subject. Instant input, instant output.
All of us tend to look at photographs as if we are simply gazing through a two-dimensional window onto some outside world. This is almost a perceptual necessity; in order to see what the photograph is of, we must first repress our consciousness of what the photograph is.
I do tend to look at my books in many ways as conceptual fiction, even to the point where I think the author's photograph is part of the package. And I have gone out of my way to select the photograph to connect to the subject matter of each book.
Unlike any other visual image, a photograph is not a rendering, an imitation or an interpretation of its subject, but actually a trace of it. No painting or drawing, however naturalist, belongs to its subject in the way that a photograph does.
The simple rely on a bolstering mass of maxim and precept, so do the timid, so do the mentally lazy – and so do all of us, more than we imagine.
There are two kinds of photographs: mine and other people's. I never think of what I might do myself when I look at someone else's pictures... there is no subject in the world I have ever wanted to photograph. It's the picture, not the object, that is important to me.
But there are times when thinking is misplaced, like when taking photographs. You cannot think your way to making photographs; you can photograph your way to clearer thinking.
I photograph to see what the world looks like in photographs.
People say: But photographs are all lies. That's not the point. The lie is a truth, too. How the hell are we going to know what Kissinger looks like? Well, the photograph tells us one version; I'm trying to tell it also, but differently.
In a world where the 2 billionth photograph has been uploaded to Flickr, which looks like an Eggleston picture! How do you deal with making photographs with the tens of thousands of photographs being uploaded to Facebook every second, how do you manage that? How do you contribute to that? What's the point?
There are a score of great religions in the world, each with scores or hundreds of sects, each with its priestly orders, its complicated creed and ritual, its heavens and hells. Each has its thousands or millions or hundreds of millions of true believers each damns all the others with more or less heartiness - and each is a mighty fortress of graft.
A photograph is both a pseudo-presence and a token of absence. Like a wood fire in a room, photographs-especially those of people, of distant landscapes and faraway cities, of the vanished past-are incitements to reverie. The sense of the unattainable that can be evoked by photographs feeds directly into the erotic feelings of those for whom desirability is enhanced by distance.
A portrait is not a likeness. The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion. There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is the truth.
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