The photograph has a double destiny — It is the daughter of the world of externals, of the living second, and as such will always keep something of the historic or scientific document about it; but it is also the daughter of the rectangle, a child of the beaux-arts, which requires one to fill up the space agreeably or harmoniously with black-and-white spots or colors. In this sense the photograph will always have one foot in the camp of the graphic arts, and will never be able to escape the fact. Indeed in every photo you will find the accent placed either on the side of document or of the graphic arts. It's inescapable. At the beginning, of course, photography began to imitate the various schools of painting but at the time when I started work it had already begun to shake off the shackles of the purely pictorial. In each country we saw a reaction set in with the work of one man — Stieglitz in the U. S. A., Emerson in England, Atget in France. . . . With them the document yielded up its place, like wise the preoccupation with painting ; photography became purely itself, neither less nor more. That is to say that people began to produce images in this medium which could not be produced in any other way whatsoever. As for those who asked (and still ask) in what the photograph differs from every other medium I reply by referring them to the scrap of conversation with Picasso which I have quoted in my book.