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We're all sinners
The most interesting thing about the camera is that it brings things into context, andthe viewer adds the missing pieces. When the " Marriage Equality Now!" sign crossesin front of the Classical Revival/Beaux-Arts statue of two androgynous figures on thefront of a government building where a gay marriage protest is taking place, you seethings in ironic context--because I framed it that way.But sometimes the most important parts of the context happen outside of theframe--and these elements are supplied by the viewer. The act of taking a photo in asense is an act of omission: You never really get the entire picture, unless you areinformed about what else may have taken place.In the movie "21 Grams" there is a scene where a fatal accident is replayed. Thecamera is fixed in a long shot and all you hear are the audio clues. In essence, youplace the action in the periphery, and there's no need to show the grisly details. It isa type of POV shot from the "memory of the rememberer" so to speak. Inphotography this "audio clue" is supplied by emotion and knowledge or interest inthe subject matter. A good example is the photo of the migrant worker by DorotheaLange, gravid with melancholy.But you wonder what could have been outside of the frame, or the sounds beingmade. From historical accounts she was in a muddy pea-pickers camp on a cold rainyday. The worker had been living on vegetables from the surrounding fields and birdsthat the children killed. She had just sold the tires from her car to buy food. In a filmyou would have the visual and audio context, but in photography the peripheraldetails are obscured, and you put them in at the time you view the photo, drawingfrom your own situational context at the time. Consider a cropped photo of one of 
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