He describes photography as always present in time while referencing past or hinting at the future. It is basic yet we don't often stop and think about it. The decisive moment of Henri Cartier-Bresson then is a visual moment where all lines and shapes are in perfect balance rather than a dramatic point of a visual narrative. Szarkowski defines it as the moment where the flux of changing forms become balanced and clear.
The truth of photography is another thing Szarkowski touches on. Because a photograph evokes reality we are often led to believe that it is more real than idealized. But just as in the cinematic tradition of Hollywood, there is a maker determining everything including what is in the scene and what is left out. The magic of Hollywood becomes a slight of hand with the photographer.
Another chapter Szarkowski examings vantage point where the photographer can create mysterious images or invert the order of importance by changing his/our view.
I have been looking through other books and artist websites. I think that I am drawn to the possibilities of images rather than a realistic interpertation of the scene before the camera. One of the artists that I really like is Elizabeth Opalenik. She uses Mordancage, a process that bleaches out part of the chemical binding on silver nitrate prints, creating veils. It looks somewhat like the Polaroid Emulsion process that I used to do. Polaroid film is not available unless you go to Ebay and pay top dollar from someone who stockpiled it. I've been told the Fuji replacement film acts nothing like the old Polaroid film and has been very frusterating to artists trying to replicate that process.