I want to know God,
The rest is details.
We chose to stay at home to be surrounded by love ones.
Photographers and people who have let themselves be photographed assume that someday people will see their images and do something in response to what they see, she argues. They imagined you, their future viewer, hovering above them at the moment the picture was taken, and you must live up to their expectations.
Azoulay asks her readers to project themselves into the scenes of photographs, to notice the power dynamics at play, to identify the participants, and to view the outcomes not as inevitable but as one possibility among many. Looking at photographs this way, Azoulay thinks, can loosen events from their seeming inevitability and reveal that history didn’t have to proceed the way it did. Things could have been different. Viewing a photograph becomes a kind of reanimation: the still photograph begins to move, and though this motion cannot erase inequality, it can trouble oppression that might otherwise seem intractable. Azoulay understands that actions in the past are irreversible, yet she insists that photography introduces a kind of malleability, the potential for change. “The photograph is out there, an object in the world,” she writes, “and anyone, always (at least in principle), can pull at one of its threads and trace it in such a way as to reopen the image and renegotiate what it shows, possibly even completely overturning what was seen in it before.
Quotes source: How We Should Respond to Photographs of Suffering
