Photography is essentially an act of non-intervention. Part of the horror of such memorable coups of contemporary photojournalism as the pictures of a Vietnamese bonze reaching for the gasoline can, of a Bengali guerrilla in the act of bayoneting a trussed-up collaborator, comes from the awareness of how plausible it has become, in situations where the photographer has the choice between a photograph and a life, to choose the photograph. The person who intervenes cannot record; the person who is recording cannot intervene.34;Between photographer and subject, there has to be distance. The camera does not rape, or even possess, though it may presume, intrude, trespass, distort, exploit, and, at the artiest reach of metaphor, assassinate -- all activities that, unlike the sexual push and shove...