1. What a documentary photograph tends to document is what has already occurred.
2. The cold dry colour of the white salt covers the ground, and as such, the warm red, wildly swarming cuts the worker’s body into half and turns into a shelter for our sight. Facing this red cloth is horrifying; this picture is not another two-dimensional image that can only be watched, it comes forward tending to swallow us. Here is a rare spot in the whole world, too close to hide, to vanish: it is not far that the red mantle lines the border between me and the universe. The breathtaking twist dazzles me. What is happening behind me? Any chance I could break free? Is this the cloth I am drowning into or an illusion?
3. The outsiders find the exotic local occasion of the inside to be interesting; exoticism is the fine line between inside and outside, and sometimes the lack of it makes one of the two meaningless. The outsiders watch exoticism through documentary photography. But what if this kind of picture appears as something occurring out of the blue? Does it not feel like any other unknown picture spotted in the pathway of our pictorial life, trying to unveil a meaning and establish a dialogue? Any description of a picture can prevent it from looking like an unknown phenomenon and just allow it to act as what it probably has tried to. Moreover, the description (usually by being absent) can provide the chance for understanding the thing, based on its actual occurrence and how the single ‘image’ depicts.