Both those taking snaps and documentary photographers, however, have not understood 'information.' What they produce are camera memories, not information, and the better they do it, the more they prove the victory of the camera over the human being.
The gesture of photography is the search for a standpoint, for a worldview; it is an ideological gesture.
..there is no everyday activity which does not aspire to be photographed, filmed or videotaped. For there is a general desire to be endlessly remembered and endlessly repeatable.
Photographs permanently displacing one another according to a program are redundant precisely because they automatically exhaust the possibilities of the photographic program. This is therefore also the challenge for the photographer: to oppose the flood of redundancy with informative images.
Photographers, it is true, do not work but they do do something: They create, process, and store symbols.
The task of a philosophy of photography is to reflect upon this possibility of freedom - and thus its significance - in a world dominated by apparatuses; to reflect upon the way in which, despite everything, it is possible for human beings to give significance to their lives in the face of the chance necessity of death. Such a philosophy is necessary because it is the only form of revolution left open to us.
There can be no such thing as a naive, unconceived act of photographing. A photograph is an image of concepts.
[Photography] is an image created and distributed automatically by programmed apparatuses in the course of a game necessarily based on chance, an image of a magic state of things whose symbols inform its receivers how to act in improbable fashion.
He who writes must master the rules of grammar. He who shoots photographs needs only to follow the instructions as given by the camera.... This leads to the paradox that the more people shoot photographs, the less they are capable of deciphering them.