Po tem ključu so v knjigi zbrani predvsem avtorji, ki ustrezajo predstavam iz razvitega in umetnost narekujočega zahodnega dela sveta, to pomeni, da predstavljeni fotografi bodisi zgodovinsko zaznamujejo deželo, iz katere prihajajo, bodisi izkazujejo kritiko trenutnega družbenega stanja, ki ni po godu večini zahodnih velesil.

V mesecu diktature veselja je umrl Božidar Dolenc.

Relationship between photography and death acquires new dimensions by the question of the role photography has in relation to death when death is anticipated through a corpse shown in a photograph.

The Nature of Photographs is dealing with universal, the characteristics common to all of the photographs, which determine, how the world is transfered into image infront of the camera.

Images of death in press are not so much a contribution to reader’s knowledge of events but powerful moral and evaluative markers, seductive and repulsive invitations to ideological interpretation of reported events.

The history can exist only through an individual expression, quotation, appropriation and transformation. Nevertheless, Samarah’s message is true, despite his arguments being wrong.

Recenzija

»I don’t like photographers. If I would be a painter I would probably say that I don’t like painters. But as it is I feel more sympathy with the painters and their work than towards those who practice photography.«

Princeton Architectural Press, Van Gogh Museum, 2004, 128 strani. ISBN-10: 156898619X, ISBN-13: 978-1568986197
Knjiga je bila na Artforumu izbrana za eno izmed desetih najboljših knjig leta 2004.

Basic critical theory for photographers pomembno prispeva k utrjevanju kanonizacije peščice Zahodnih esejistov, teoretikov in fotografov, s katerim bralcu bistveno omejuje spoznavni horizont in ga pretvarja v kopico ogledal, ki odsevajo druga drugo.