“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. The sense of the unttainable that can be evoked by photographs feeds directly into the erotic feelings of those for whom desirability is enhanced by distance. The lover’s photograph hidden in a married women’s wallet, the poster of a rock star tacked up over an adolescent’s bed, the campaign-button image of a politician’s face pinned on a voter’s coat, the snapshots of a cabdriver’s children clipped to the visor – all such talismanic uses of photographs express a feeling both sentimental and implicitly magical: they are attempts to contact or lay claim to another reality”
– Susan Sontag.