Is not the most erotic part of the body wherever the clothing affords a glimpse?
All those young photographers who are at work in the world, determined upon the capture of actuality, do not know that they are agents of Death.
Interpretation
What this quote means
The quote suggests that young photographers, while capturing life, are also capturing moments that inevitably lead to death, reflecting on the transient nature of reality.
Roland Barthes highlights the paradox of photography as an art form that captures 'actuality.' He suggests that while photographers are focused on documenting life and reality in their work, they are simultaneously recording moments that are fleeting and ephemeral. This reflection points to the relationship between the act of capturing images and the passing of time, emphasizing the notion that every photographic image is also a reminder of mortality and the eventual end of all moments.
Themes
In practice
Example use cases
This quote can be shared in a photography workshop to provoke thought among budding photographers.
More from Roland Barthes
All quotes →If I acknowledge my dependency, I do so because for me it is a means of signifying my demand: in the realm of love, futility is not a "weakness" or an "absurdity": it is a strong sign: the more futile, the more it signifies and the more it asserts itself as strength.)
The gesture of the amorous embrace seems to fulfill, for a time, the subject's dream of total union with the loved being: The longing for consummation with the other.
The text is a tissue of quotations drawn from the innumerable centres of culture.
I think that cars today are almost the exact equivalent of the great Gothic cathedrals: I mean the supreme creation of an era, conceived with passion by unknown artists, and consumed in image if not in usage by a whole population which appropriates them as a purely magical object.
Isn’t the most sensitive point of this mourning the fact that I must lose a language — the amorous language? No more ‘I love you’s.
Similar quotes
This much we know: Journalism is not a precise science. It's, on its best day, is a crude art. We make mistakes; I make mistakes. With more than 50 years as a journalist, I have at least had the opportunity to blow more stories, make more mistakes than maybe anybody in television.
I think my work has to do with a sense that we are attempting, all the time, to create a logical, rational path through the day. To the left and right there are an amazing set of distractions that we usually can't afford to follow. But the poet is willing to stop anywhere.
There’s always been this hocus-pocus or magical, mystical thing associated with the making of film that sort of psyches people out and makes them think that this cannot be done; that this is a craft that cannot be learned.
Poetry is the art of creating imaginary gardens with real toads.
No art is any good unless you can feel how it's put together. By and large it's the eye, the hand and if it's any good, you feel the body. Most of the best stuff seems to be a complete gesture, the totality of the artist's body; you can really lean on it.
It's dialogue that gives your cast their voices, and is crucial in defining their characters.