Pedro Meyer
[Photographer, b. 1935, Madrid, Spain, lives in Mexico City.]

 I always found it rather pathetic that as a photographer I would be dependent to such a large extent on sheer luck... So the moment I was offered [digital] tools to bend the shape of the image into my choices, and not those of lady luck, I was hooked. 
 At certain moments of intense personal grief, capturing images was for me the only way to comprehend later what was happening. 
 Merging photographs can be more real than the isolated image because reality is so much more rich than just an isolated moment. 
 The photograph as an objective representation of reality simply does not exist. The photograph does not explain to you what is going on to the left or to the right or above or below the frame. Oftentimes, it doesn’t even explain to you what is going on inside the frame. 
 [Photography] is the non-complacence of the eye. To practice my right to look is also a critical attitude. If I stare at you, I will make you uncomfortable, and culturally we have a difficulty of staring and being stared at. 
 Before, the myth of “photography doesn’t lie” was used in order to cover up tricks. If I [make a] portrait [of] you, accommodate you, illuminate you, put make up on you or use a filter, am I not manipulating reality? The only difference is that now I can do it from the computer in the postclick instead of the preclick. If I decide to photograph something instead of something else, I also manipulate reality. Of course a photograph can lie or commit abuse, but it always could. 
 The digital tools allow us to have control over what and how we can alter an image that was unimaginable in the era of analog photography. 
 I have always questioned everything: education, the obligation to memorize, authority. Perhaps that is why I have photographed everything. 
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