The verb ‘capture’ implies both acts of preservation and of restraint. In his novel The Collector, John Fowles explores this duality, implying that the paradox of art is that “in signalling the importance of freedom, [it] inaugurates another kind of imprisonment.” In The Collector the imprisoned Miranda believes “when you draw something it lives and when you photograph something it dies.” Similarly, Jeanette Winterson argues that the act of capturing is not mere reproduction:

The wrestle with material isn’t about subduing; it is about making a third thing that didn’t exist before. The raw material was there, and you were there, but the relationship that happens between maker and material allows the finished piece to be what it is.

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