[Photographer, b. 1943, Scandiano, Italy, d. 1992, Reggio Emilia, Italy.]
The ultimate role of photography as a contemporary language of visual communication consists of its capacity to slow down our fast and chaotic way of reading images.
[Writer, critic, and theorist, b. 1915, Cherbourg, d. 1980, Paris.]
When we define the Photograph as a motionless image, this does not mean only that the figures it represents do not move; it means that they do not emerge, do not leave: they are anesthetized and fastened down, like butterflies.
[Photographer, b. 1943, Budapest, Hungary, lives in New York.]
Stop and go: always on some journey. My bounty is a photograph or two.
[Photographer, b. 1906, Vienna, Austria, d. 1983, New York.]
Speed, the fundamental condition of the activities of our day is the power of photography, indeed the modern art of today, the art of the split second.
[Photographer, b. 1946, Vancouver, Canada, lives in Vancouver.]
Reportage, or the spontaneous, fleeting aspect of the photographic image, appear simultaneously with the pictorial, tableau-like aspect at the origins of photography; its traces can be seen in the blurred elements of Daguerre’s first scenes. Reportage evolves in the pursuit of the blurred parts of the pictures.
[Artist, b. 1925, Port Arthur, Texas, d. 2008, Captiva Island, Florida.]
One gets as much information as a witness of activity from a fleeting glance, like a quick look, sometimes in motion, as one does staring at the subject. Because even if you remain stationary, your mind wanders, and it’s that kind of activity that I would like to get into the photograph.
[Photographer, b. 1904, Korçë, Albania, d. 1984, Stamford, Connecticut.]
Time could truly be made to stand still. Texture could be retained despite violent movement. (On the development of high-speed strobes)
[Writer and theorist, b. 1932, Paris, lives in La Rochelle, France.]
To regain our liberty (and our distance), we must slow the images down.