Book: About photography

<...> The most irrational thing in the world, relentlessly moving, indigestible and mysterious, is time. What makes photography surreal is its ability to evoke regret about the past time and specific signs of social belonging.

Unlike the works of art of the pre-democratic era, photography is not entirely subject to the intentions of the artist. It owes its existence to an unregulated interaction (quasi-magical, quasi-random) between the photographer and the subject, and their mediator is an increasingly helpful and automated machine that knows no fatigue, and even if it is capricious, the result can turn out to be interesting and not completely deceitful.

Surrealism has always loved chance, welcomed the uninvited, admired the disorderly. What could be more surreal than an object that actually produces itself - and with minimal effort? An object whose beauty, fantastic revelations, emotional impact will only gain from an accident that happens to him?

Surrealism lies in the very creation of a duplicate world, a reality of the second degree, narrower, but also more spectacular than that which is perceived by ordinary vision. The fewer tricks, the less original workmanship, the more likely the photograph will be.