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

 At certain moments of intense personal grief, capturing images was for me the only way to comprehend later what was happening. 
 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. 
 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. 
 Merging photographs can be more real than the isolated image because reality is so much more rich than just an isolated moment. 
 I have always questioned everything: education, the obligation to memorize, authority. Perhaps that is why I have photographed everything. 
 [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. 
 When we look at a photograph, we are faced with only one version of reality and what we understand is only one of its given truths. In reading a photograph we do many things. We absorb information, we impose meaning, and we experience emotion. This is a dynamic process in which the picture depends on the culture of the photographer and the culture of the viewer. 
 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. 
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