True photographs tend to remain on the streets, the story almost about to enter the edge of the frame of the snapshot or — Doug Rice, An Erotics of Seeing: The force of photography as philosophy's broken sentence

True photographs tend to remain on the streets, the story almost about to enter the edge of the frame of the snapshot or — Doug Rice, An Erotics of Seeing: The force of photography as philosophy's broken sentence

True photographs tend to remain on the streets, the story almost about to enter the edge of the frame of the snapshot or — Doug Rice, An Erotics of Seeing: The force of photography as philosophy's broken sentence

True photographs tend to remain on the streets, the story almost about to enter the edge of the frame of the snapshot or — Doug Rice, An Erotics of Seeing: The force of photography as philosophy's broken sentence

True photographs tend to remain on the streets, the story almost about to enter the edge of the frame of the snapshot or — Doug Rice, An Erotics of Seeing: The force of photography as philosophy's broken sentence

True photographs tend to remain on the streets, the story almost about to enter the edge of the frame of the snapshot or the shutter closing a moment too late, the story having just abandoned the frame.

— Doug Rice, An Erotics of Seeing: The force of photography as philosophy's broken sentence

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