[Photography is] a great adventure in thought and sight, with a magical toy which miraculously manages to marry our adult awareness with the fairytale world of childhood. 

 What good is such sharp sight when we are in a dead end? 

 In 1969, a photograph taken from a spaceship traveling to the moon appeared on every newspaper; this was the first photograph of the entire world. The image that man had pursued for centuries was presented for our view; it held within it all previous incomplete images, all books that had been written, all signs, those that had been deciphered and those that had not. It was not only the image of the entire world, but the only image that contained all other images of the world: graffiti, frescoes, paintings, writings, photographs, books, films. It was at once the representation of the world and all representations of the world. 

 Reality is being transformed into a colossal photograph, and the montage already exists: it’s called the real world. 

 …the photograph encapsulates the notion of the double, and the fantastical journey through variations of scale, of capturing the moment and bringing it forever back to the present—because a photograph is a gesture, and object, the past. 

 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. 

 …my role as a photographer is never that of an author, a chronicler, or a director; my role should be indistinguishable from those I photograph. 

 …photography is a language in which the difference between reproduction and interpretation, however subtle, exists and gives rise to an infinite number of imaginary worlds.