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; UcLiiśJk
P.W.MWrr-ff-
One day, quite somc cimc ago, I happencd on a photograph of Napolcon’s youngcst brocher, Jerome, taken in 1852. And I realizcd thcn, wirh an amazcment I have not bccn able to lessen smcc: "I am looking at eyes that lookcd at the Emperor.” Sometimes I would mcntion this amazcment, but sincc no one scemed to share it, nor even to understand ir (lifc consists of chesc littlc touches of solitudc), 1 forgor about it. My interest in Photography took a morę cultural turn. I decidcd I likcd Photography in opposition to the Cincma, from which I nonethcless failed to scparatc ir. This question grew insis-rcnt. I was overrome by an "ontologicul” dcsire: I wanted to learn at all costs what Photography włas "in itself," by what cssential featute it was to bc distinguishcd from the community of images. Such a dcsire rcaily meanr rhat beyond the evidcnce providcd by tcchnology and usage, and despite its tremendous contemporary expansion, I wasn't surę rhat Photography cxistcd, that it had a "gc-mus" of its own.
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