Roland Barthes
[Writer, critic, and theorist, b. 1915, Cherbourg, d. 1980, Paris.]

 Ultimately—or at the limit—in order to see a photograph well, it is best to look away or close your eyes. 
 Pornography ordinarily represents the sex-organ, it makes it into an immobile object (a fetish), to which we burn incense, like a god that doesn’t leave its niche. 
 The photographic referent [is] not the optionally real thing to which an image or a sign refers but the necessarily real thing which has been placed before the lens, without which there would be no photograph. 
 How does meaning get into the image? Where does it end? And if it ends, what is there beyond? 
 A photograph is always invisible, it is not it that we see. 
 In an initial period, photography, in order to surprise, photographs the notable; but soon, by a familiar reversal, it decrees notable whatever it photographs. 
 Formerly, the image illustrated the text (made it clearer); today, the text loads the image, burdening it with a culture, a moral, an imagination. 
 As Spectator I wanted to explore photography not as a question (a theme) but as a wound. 
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