If a more or less random snapshot is like an infinitely fine scale that has been scratched from the surface of reality with the tip of a finger, then in comparision the photoseries or photomontage lets us experience the extended massiveness of reality, its authentic meaning. We build systematically. We must also photograph systematically. Sequence and long-term photographic observation--that is the method.
To be able to see in concrete terms what was created in a fraction of a second is a rare luxury. Even though fixed in time, a photograph evokes as much feeling as that which comes from music or dance. Whatever the mode – from the snapshot to the decisive moment to multi-media montage – the intent and purpose of photography is to render in visual terms feelings and experiences that often elude the ability of words to describe. In any case, the eyes have it, and the imagination will always soar farther than was expected.
It is not reality that photographs make immediately accessible, but images. For example, now all adults can know exactly how they and their parents and grandparents looked as children – a knowledge not available to anyone before the invention of cameras, not even to that tine minority among whom it was customary to commission paintings of their children. Most of these portraits were less informative than any snapshot. And even the very wealthy usually owned just one portrait of themselves or any of their forebears as children, that is, image of one moment of childhood, whereas it is common to have many photographs of oneself, the camera offering the possibility of possessing a complete record, at all ages.