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The photographer is now charging real beasts, beleaguered and too rare to kill. Guns have metamorphosed into cameras in this earnest comedy, the ecology safari, because nature has ceased to be what it always had been - what people needed protection from. Now nature - tamed, endangered, mortal - needs to be protected from people. When we are afraid, we shoot. But when we are nostalgic, we take pictures. ↗
He closes his eyes. Our lips brush lightly. "If you ask me to kiss you , I will," he says. His fingers stroke the inside of my wrists, and I burst into flames. "Kiss me," I say. He does. ↗
I laughed as I twisted to face him and raised my arm to hit in one move. He caught my wrist and my laugh caught in my throat. A mischievous grin curved my mouth as I raised my other hand to hit him. He reached over me and caught that wrist too, gently pinning my arms above my head as he straddled my hips. The space between us boiled my blood. ↗
What pricks me is the discovery of this equivalence. In front of the photograph of my mother as a child, I tell myself: She is going to die: I shudder… over a catastrophe which has already occurred. Whether or not the subject is already dead, every photograph is this catastrophe. ↗
Still photographs are the most powerful weapon in the world. People believe them, but photographs do lie, even without manipulation. They are only half-truths. ↗
People spot a big black lens, and they worry about what they're doing, or how their hair looks. Nobody see the person holding the camera. ↗
The photograph is literally an emanation of the referent. From a real body, which was there, proceed radiations which ultimately touch me, who am here; the duration of the transmission is insignificant; the photograph of the missing being, as Sontag says, will touch me like the delayed rays of a star. ↗
