A passage from Susan Sontag’s groundbreaking book, On Photography
A photograph is both a pseudo-presence and a token of absence. Like a wood fire in a room, photographs—especially those of people, of distant landscapes and faraway cities, of the vanished past—are incitements to reverie (p. 16).
This comes close to explaining my fascination with portraits. It is not necessarily the subject’s fame that draws me to these images. In fact, the portraits selected for this essay were chosen because they did not immediately communicate the aura of fame. They weren’t distorted by fame’s messy narrative.
