‘To quote out of context is the essence of the photographer’s craft. His central problem is a simple one: what shall he include, what shall he reject? The line of decision between in and out is the picture’s edge. While the draughtsman starts with the middle of the sheet, the photographer starts with the frame. The photograph’s edge defines content. It isolates unexpected juxtapositions. By surrounding two facts, it creates a relationship. The edge of the photograph dissects familiar forms, and shows their unfamiliar fragment. It creates the shapes that surround objects. The photographer edits the meanings and the patterns of the world through an imaginary frame. This frame is the beginning of his picture’s geometry. It is to the photograph as the cushion is to the billiard table.’
-John Szarkowski
John mentions in the above section that photographers are only quoting 'out of context'. By this, he means that the photograph does not capture the entire story, but only captures wha is happening at the exact moment. This is why a lot of false propaganda can be persuasive because it only shows a very small part of the story and typically, not the true story. This 'out of context' can go be either good or bad. After all, it's not the whole story.
Impressionist artists such as Degas were heavily influenced by the things they saw around them. At the time that photography started to take place which was in 1834, the public was shocked by what they saw. For the first time, they could see in-detail pictures that captured a moment instead of having the subjects pause while the artists sketch out what they look like. This was revolutionary and spired artists of all kinds to capture moments t=so people could really see the beauty in humanity.
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