For many decades the guide has been the most influential means of arranging photographs, thereby guaranteeing them longevity, if not immortality — photographs are fragile objects, easily torn or mislaid — and a wider public. The photograph in a guide is, obviously, the image of a picture. But since it’s, to begin with, a printed, easy object, a photograph loses a lot much less of its important high quality when reproduced in a book than a portray does. Still, the guide isn’t an entirely satisfactory scheme for placing teams of images into common circulation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the really helpful order or signifies the amount of time to be spent on every photograph. Chris Marker’s film, Si j’avais quatre dromadaires , a brilliantly orchestrated meditation on photographs of all types and themes, suggests a subtler and extra rigorous means of packaging still photographs.
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