Reading

Reading

When I have a dream about a place it sticks in my mind, and I keep thinking of it.【Robert_Coles：Doing Documentary Work】

how did they know they were right, in what they said?【Robert_Coles：Doing Documentary Work】

way of Our purpose on this planet?【Robert_Coles：Doing Documentary Work】

The call to documentary work is an aspect of the call of stories, of our wish to learn about one another through observation of one another; we can consider how we are getting on with one another, serving each other, with documentary as the reflective side of such services - those stories and pictures a change for us to wonder how we are doing as we try to affirm ourselves by reaching toward others, helping to make a difference in a neighborhood, a nation.【Robert_Coles：Doing Documentary Work】

As we attend people closely, observe over time their manner, and pay heed to the rhythms of their language, the turns and shifts in their expressed thought, that even the soundest of us has to contend with inconsistencies and contradictions of word, of conviction, of feeling, of intent.【Robert_Coles：Doing Documentary Work】

who choose to emphasize what, and for which reason.【Robert_Coles：Doing Documentary Work】

transmitted over the generations.【Robert_Coles：Doing Documentary Work】

Smitten by a documentary impulse, may choose to learn about the lives of others, then offer what has been discovered to a world more needy than we may have realized.【Robert_Coles：Doing Documentary Work】

The viewer is meant to extend and conclude.【Robert_Coles：Doing Documentary Work】

The eyes want to do more than behold - want to posses, then share with others, in the hope that one person's "moment" becomes that of another, even if from afar.【Robert_Coles：Doing Documentary Work】

Anna Freud: People hear, but they don’t necessarily listen.
Cole: People look, but they don't necessarily see.【Robert_Coles：Doing Documentary Work】

To some extent we see the world we are looking for. We select for ourselves visually what our minds and hearts crave to notice.【Robert_Coles：Doing Documentary Work】

His camera (documentary film) attend the contours of our daily life, and in the end, as with fiction, help us better see and hear ourselves.【Robert_Coles：Doing Documentary Work】

People have a lot to say about this life, about their fate.【Robert_Coles：Doing Documentary Work】

We are asked not to be outranged at others but to look at ourselves, the rich and strong ones whose aginst hurt the weak and maimed in the name of what? Our freedom. Our security. Our civilization. Were men's "rights" violated, or do places like Bridgewater strip men of everything of their dignity, their humanity? If so, how can we move the state to correct its wrongs, to end its evasion or corruption or worse?【Robert_Coles：Doing Documentary Work】

He has made us viewers a part of that decision: we are his students, and he is our guide, our teacher, the one whose eyes are intent on helping us see a given world.【Robert_Coles：Doing Documentary Work】

How it used to be, how it goes now, how they hope things will turn out in the years ahead.【Robert_Coles：Doing Documentary Work】

A book of reminder of what has recently changed.【Robert_Coles：Doing Documentary Work】

Where and what are they, and what have they to tell?【Robert_Coles：Doing Documentary Work】

He is consciously self-conscious, the impression he records are not those of a traveler but those of a native who is finally aware of what it is he feels.【Robert_Coles：Doing Documentary Work】

Anything we saw in people was only part of the story.【Robert_Coles：Doing Documentary Work】

Writers got caught in the traps of nostalgia; they allowed the past to define the present, to narrow their vision of what is in store for us, and ultimately they paid the price as writers.【Robert_Coles：Doing Documentary Work】

The past we neither forget completely nor remember accurately.【Robert_Coles：Doing Documentary Work】

The contemplation of things as they are, without substitution or imposture, without error or confusion, is in itself a nobler thing than a whole harvest of invention.【Robert_Coles：Doing Documentary Work】

Documentary writing and photography are essentially a response of the mind and heart to a given state of affairs; after a certain point, one has to go along with one’s limitations and transparent or potential flaws in the hope that some redeeming intelligence and aesthetic competence will assert itself.【Robert_Coles：Doing Documentary Work】

I knew I was looking at something. You know there are moments such as these when time stands still and all you do is hold your breath and hope it will wait for you. And you just hope you will have enough time to get it organized in a fraction of a second on that tiny piece of sensitive film. Sometimes you have an inner sense that you have encompassed the things generally. You know then that you are not taking anything away from anyone: their privacy, their dignity, their wholeness.【Robert_Coles：Doing Documentary Work】

We don’t need cameras here; we have enough trouble controlling our eyes! I waste my time looking and not seeing. Words are even worse; they make birds fly away, and they make us dizzy with noise.【Robert_Coles：Doing Documentary Work】

The books fill up our head with words, and take over our eyes. We end up seeing what the words told us about. We stop seeing; the noise of the words takes over.【Robert_Coles：Doing Documentary Work】

In other words, life’s contradictions and inconsistencies have a way of demanding their due, no matter the particular, honorable intent of an observer who was quite properly horrified at the sight of the human loss, at the sight of a community’s decline, and who was anxious to portray such a development so that others would know and, as citizens, be inclined to act.【Robert_Coles：Doing Documentary Work】

I’d rather be myself, only better off. How do you get better off? And when you are better off, how do you get to be “yourself”, and no copycat of everyone else?【Robert_Coles：Doing Documentary Work】

Dorothea Lange used photographs to make the point that novelists and poets and painters and sculptors all keep trying to make: I am here; I hear and see; I will take what my senses offer my brain and try to offer others something that will inform them, startle them, move them to awe and wonder, entertain them and rescue them from banality, from the dreary silliness inevitably pressed upon us by the world.【Robert_Coles：Doing Documentary Work】

Documentary is about a city, a state, an aspect of human experience, human expression, a kind of life, a person’s story. Such are the various excitants and provocations, the range of subjects that have prompted an observer’s, a narrator’s attention, a commitment of aesthetic, intellectual, moral energy. What idiosyncratic, responsive statement – words or pictures or both or film footage assembled to characterize, convey, and connect an audience of readers and viewers to a scene, a life of lives, a moment of infinite time, a patch of infinite space, a here chose (and attended) out of all that is out there.【Robert_Coles：Doing Documentary Work】

Photographs are irrelevant, subjective, and inflammatory. The point should be dispassionate, detached analysis, not polemical statement or propaganda.【Robert_Coles：Doing Documentary Work】

A sort of photographer anxious to respond artistically, dramatically to a given scene. 【Robert_Coles：Doing Documentary Work】

Doing documentary work is a journey, and is a little more, too, a passage across boundaries (disciplines, occupational constraints, definitions, conventions all too influentially constraints, definitions, conventions all too influentially closed for traffic), a passage that can become a quest, even a pilgrimage, a movement toward the sacred truth enshrined not only on tablets of stone, but in the living hearts of those others whom we can hear, see, and get to understand. Thereby, we hope to be confirmed in our own humanity – the creature on this earth whose very nature it is to make just that kind of connection with others during the brief stay we are permitted here.【Robert_Coles：Doing Documentary Work】

我們拍攝任何物品的目的，並不是要把物件完美地再展現出來。藝術創作是要把主觀感受到的視覺意念性東西提煉出來。【林韜：攝影停格：用電影手法拍出最動人的照片】

技巧是表現感受的工具，不是表現的物件。【林韜：攝影停格：用電影手法拍出最動人的照片】

影像的感染力是基於創作者的敏銳藝術感受，以及創作者對這個畫面的主觀控制。【林韜：攝影停格：用電影手法拍出最動人的照片】

The language - and how it is used.【Robert_Coles：Doing Documentary Work】

The rock-bottom issue is not only one's stated attitude toward "Art" in general, but one's sense of oneself.【Robert_Coles：Doing Documentary Work】

The point was to dream, to wander from topic to topic, and then, finally, to find the specific place and time, so that the eyes were free to follow the reasons of heart and mind both: a lyrical sociology; a journalism of the muse; a dramatic storytelling adventure that attends a scene in order to capture its evident life, probe its secrets, and turn it over as whole and complicated and concrete and elusive as it is has been found to those of us who card to be interested.【Robert_Coles：Doing Documentary Work】

…enter his life, try to understand it, and return with that understanding to our own, which is thereby altered.【Robert_Coles：Doing Documentary Work】

The camera came into its own as a means of social and even economic and historical reflection. There pictures, in their powerfully unfolding drama, in their manner of arrangement and presentation and sequencing, in their narrative cogency and fluency, tell us so very much, offer us a gripping sense of where a social tragedy took place and how it shaped the lives of its victims.【Robert_Coles：Doing Documentary Work】

Though some photographers place great store by the titles they attach to their pictures, or write comments that help locate the viewer, help give him or her a sense of where the scene is or even provide a bit of context (how the person taking the picture happened to be at a particular place at a particular time), most photographers are content to let their work stand on its own, a silent confrontation of us all-too-wordy folk, for whom language (in the form of abstractions and recitations) can sometimes become an obstacle rather than a pathway to the lived truth of various lives.【Robert_Coles：Doing Documentary Work】

They were "out there", living their lives, and I had come to them in an effort to learn how they "got along".【Robert_Coles：Doing Documentary Work】

Job of a Tutor: helped student understands the subject at hand (and would presumable help his editor and readers, who inhabit his or her mind, understand).【Robert_Coles：Doing Documentary Work】

The reflective aspect of what gets called experience.【Robert_Coles：Doing Documentary Work】

I tell lies - my 'business' is to write them down and sell them, with the help of publisher.【Robert_Coles：Doing Documentary Work】

To see words and pictures illuminate the attitude, the actions, the manner of being of readers and viewers.【Robert_Coles：Doing Documentary Work】

Documentary work is bound somewhat to pull down those who do it, those who probe探索 and scrutinize審視 the undertow暗流 of the world.【Robert_Coles：Doing Documentary Work】

You are on your own - you have got to learn on your own, and figure out some angle for yourself, so you can build your reputation and get to do the work you do.【Robert_Coles：Doing Documentary Work】

Sometimes, for some people being observed, the real "issue" is that of "attitude": the observer's manner of approach rather than the substance of a specific agreement or commitment spelled out earlier.【Robert_Coles：Doing Documentary Work】

We forget about others in many ways - sometimes by becoming newly preoccupied with a righteousness正?that turns into self-righteousness自以?是, and feeds on any and all victims, many of them made up on the spot.【Robert_Coles：Doing Documentary Work】

I've live a protected, comfortable life; it would be hard to have to leave if for that world of danger and violence.【Robert_Coles：Doing Documentary Work】

Documentary work as a kind of love that becomes expressed in those words, those pictures, a kind of love that is handed over, thereby, to others.【Robert_Coles：Doing Documentary Work】

In documentary work, imagination encounters and tries to come to terms with reality; and the way in which that is done, the outcome achieved, is as various as the individuals involved in the effort, the struggle.【Robert_Coles：Doing Documentary Work】

Questions that have moral implications are harder to hear【Robert_Coles：Doing Documentary Work】

We are trying to study, and thus our ability, our inclination, our need to accommodate ourselves to one another, and our participation in what we aim to observe.【Robert_Coles：Doing Documentary Work】

This doing of documentary work: our willingness to put ourselves on the line in this way, our willingness to indicate that the documentarian, the listener and the one who sees, the witness, can be both a vehicle and an obstacle on a journey.【Robert_Coles：Doing Documentary Work】

Our documentary efforts to learn from others about what they were doing, and our efforts to fit what we had learned into a presentation for others that would obtain their interest, and then their agreement.【Robert_Coles：Doing Documentary Work】

Documentary work can be fitted into a grand scale of classifications or categories, or can be more cautiously regarded as a series of individual stories. It's here not only of motivational analysis, but of a person's complex life as it got connected with, say, politics, economics, or history.【Robert_Coles：Doing Documentary Work】

攝影師的意圖並不能決定照片的意義，照片有自己的命運，被出於不同目的使用它的不同社團的奇思異想和忠誠所左右。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

不事加工的照片不僅會受到歡迎─因為人們覺得擁有了一種特殊的真實─而且有人還把它和最好的照片相媲美，這是每一張值得銘記的、有說服力的照片必備的標準。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

語言的力量，照片的震撼。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

肖像是部分真實的策略性表現。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

影集既讓人回想起往日風光的日子，同時也讓人想起那悲慘的時候。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

攝影充斥著矛盾的可能性，因為它在揭露的同時又掩蓋，在定型的同時又變形，在征服的同時又解放。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

圖像就像通過視覺覆制品，對人格進行操縱的感應巫術。<艾倫.凡爾德曼:暴力與視覺:修復術與恐懼的美學>【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

「瞄準」並「獵取」大千世界的象征，把世界簡化為某些原型，穩固了攝影師所想要展現的「真實性」，模糊人們所不願看到的世界。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

照片具有固定的觀察點，將觀看者凝滯在單一位置，讓眼睛保持「靜止不動，視線集中」。<杰伊>【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

只有當一個人的個人身分被拋棄，他或她才是這樣一尊塑像，一張可視為有力的，真正的，可認知的與可復制的圖片。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

攝影因其形像性而影響著那構成帝國的實踐和建制。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

按動快門，就可以得到戰利品。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

攝影所承載的意義，並不全由影像制過程中所使用的技術決定，而是由引人並帶給它們的思想和信念所塑造。(羅斯勒)【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

數字影像的出理可以被看做是這樣一種手段，「暴露了可視世界的影像生成的兩難，解構了攝影的客觀性和終結性，瓦解了那些日益成為僵死傳統約東方」。[米切爾-重構的眼睛-後攝影時代的視覺真理]【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

數字時代攝影影像的價值不能靠把它的真實性追根溯源到最初的照片制作的化學過逞中去獲得。相反，它必須依靠制作影像的攝影師的良心和聲譽。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

攝影，在試圖保存生命的時侯，制造了死亡<巴爾特-明室>【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

所有的照片都是memento mori(死的象征)。攝影是參與到另一個人(或物)的有限性、缺陷和易變性中去，通過精確的攔截一個時間的片段，並把它凝固下來，所有的攝影見証了時間的無情流逝。<桑塔格:論攝影>【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

人們能夠用一種新的方式來觀看世界，攝影提供給人們對他們日常生活提出質疑的可能性，並最終改變他們的日常生活。<本雅明:機械覆時代的藝術作品>【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

我是一隻眼睛，機械眼。將展現給您一個只有我才能看到的世界。今天甚至直到永遠，我把自己從人的有限性中解放出來……我的道路通向創造出一種對世界的新的知覺。從而我用一種新的方式解釋您未知的世界。<伯格:看的方式>【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

在照片的四周，我們必須建立一套放射性的系統，以便我們能同時以個人、政治、經濟、戲劇性、日常化和歷史的觀點來欣賞攝影。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

選擇去記憶或遺忘牽涉某種救贖的心理行為。被記住的事物是從虛無中救回來的。那些被遺忘的事物則已經被拋棄了。若所有的事情都無時無刻不在超自然之眼的注視中，則記憶和遺忘之間的分別就成了一種價值判斷，一種公道自在人心的選手，而「感謝」也就因此變得接近於「被記住」，「譴責」則變成類似於「被忘記」。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

相機一直是被用來當做活化記憶的工具，照片則被當成是生命所遺留下來的紀念品。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

照片本身並無法像記憶那樣可以保存意義。它們只提供具有可信度和嚴肅性的外觀，却去掉意義的成分。意義是經過理解之後的結果。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

照相機分解了現實，它提出了一種不連續的觀點來看世界，但却賦予每一刻神秘的特質。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

在兩次世界大戰那個年代，照片取代了事實，成了直接的證據。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

攝影是一面鏡子，比任何現實的鏡子更可信，在那裡，我們見證著我們自己的成長。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

那被看見的已經死了【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

用拍攝不同對象的方法來表達他們審美意圖的原創性，而不是以不同的手段來拍攝同一個對象。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

攝影提供了一個機會，去觀察不同的階層價值，在沒有接受任何正式教育的情況下，如何互相溝通。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

一旦照片被一個對攝影者個人經驗一無所知觀者只當成它們本身來觀看時，它們就會失去所有的意義與價值。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

至少表現了一個人與一個地方在一個特殊時刻的相遇【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

讓形式從日常狀態中分離，並在背景之上挺立出來【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

決定人們購買昂貴相機的根本因素，更多的時時候是消費者追求高端品質商品的習慣，而並非攝影動機經過了質量上的考慮。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

家庭照相簿表現了社會記憶的核心【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

節慶攝影用途 - 對聚會重申的技術(a technology for the riteration of the party)【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

業餘攝影師可以覆制專業攝影師的功能，但是由於專業攝影師的存在使得儀式的莊重性更加正式化，所以他們無法被業餘人仕所取代。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

家庭攝影是一種家庭崇拜的儀式，既表現家庭群體的慶典感，又可通過攝影而加強此慶典感【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

攝影具有幫助人們消除時間流逝所帶來的痛苦的功能，它要麼充當被時間摧毀的神奇替代品，要麼彌補記憶的失效，作為喚起相關記憶的安身之所。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

攝影動機：抵禦時間、溝通他人與表達感情、自我實現、社會威望、解脫或者逃逸。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

將個人感想逐漸引向了普遍化的思考，從攝影洞見的，最終是要針砭整體當代文化中的病癥。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

擺明了以「我」為中心，迎對現象世界，也甘冒洩露其私密情感的不安，在焦慮、困惑、傷慟、悲憫，以及愉悅、陶醉等種種動情言述之間，同時在進行著一趟知性的追尋之旅。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

「氣質」(air)：這是一種超乎社會性的總體人物神情，具有不可拆解、不可簡化，不可析斷解讀(articuler)的印象。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

在廣告類或新聞紀實影像中，力求訊息盡可能地簡單化。否則「太多話」、訊息無止盡衍生的影像，會被當代社會認定是「危險有害的」；相反的，無知化，愚鈍化，已然成為社會理性秩序的一項安全保障。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

在藝術的生產過程中，要以智識空乏化作為視覺藝術的主要客體，以分隔視覺接受中的概念與感知，作為美學基礎。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

攝影者就如特技演員一般，必須對一切可能性，甚至向微乎其微的可能性挑戰。推向極端，還得向有趣的一般定義挑戰，亦即當人們看不出何以要這樣拍時，便是一張驚奇的相片。(Roland Barthes)【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

巴特列出了五項他頗不以為然的作法：稀有被拍物之窮盡蒐集、視覺接收限度之挑戰、攝影材質潛能之發揮、攝影條件之偏離與超越、藉實物作影像修辭遊戲。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

攝影雖不比繪畫更能推動歷史（作為政戰工具），但仍能「撼動思想」。(Hubert Damisch)【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

現代攝影若回返「為藝術而藝術」的傳統唯美崇拜，恐將固步自封，陷入發展困境，成為墮落的布爾喬亞價值的附庸。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

創作，其基本特色是多變，以矛盾為父，仿造為母~~~越成為崇拜的對象。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

現今社會秩序的危機越是擴大，越見每一時刻皆充滿強硬的衝突及最徹底的對立矛盾。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

長時間的曝光過情，使得被拍者并非活出了留影的瞬間之外，而是活入其中。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

相片中那如此真實仍活在其中的人，象是不願意被藝術吞沒，不肯在藝術中死去。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

畫像經過兩三代後，如果還在，能見證的也僅僅是畫家的技藝。【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

「未來的文盲」，是不知如何解讀自己相片的攝影者。(by Roland Barthes 1977)【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

將來的文盲是不懂得攝影的人，不是不會書寫的人。(「未來的文盲」特指欠缺能力，無法「正確」解讀攝影社會性與政治性訊息的一般大眾，甚至，攝影者本身。)【瓦爾特．本雅明, 蘇珊．桑塔格：上帝的眼睛︰攝影的哲學】

元素結構越有規律，越能賞心悅目。【龐門正道：攝影中的前後構圖】

所有的藝術行為都是為了觀點的表達，如果你需要表達的觀點不同，行為也許就不同，裁剪照片也是一樣，沒有誰對誰錯，只有誰表達的更準確而已。【龐門正道：攝影中的前後構圖】