In fifty years, everything that is in your photographs will be dead, gone, or changed beyond all recognition. Do you take this into consideration when crafting your pictures? Because photography is indexical, it's theoretically not good at doing generalities; ideas, concepts, like, for example, the metaphysical concept of death. But, on the other hand, if you step back from the immediate process, photography is *always* about death; from the instant the picture is made, one is looking at what no longer exists. ["indexical" = signs that acquire their function through a causal connection with what they signify; for example, smoke as a sign of fire] I would guess that most casual photographer never give this kind of thing a thought. Their pictures will degrade to nothing almost as fast as the fresh fruit in the supermarket goes rotten. Art photographers, on the other hand, I would guess, almost always think about this kind of thing. To that end, they snip the indexical tether; Weston's famous Pepper No. 30 is not "a" pepper [indexical] or even about peppers at all. He ate "the" pepper shortly after photographing it, but the picture remains fresh to this day. To my eye, many great portraits are like the Weston pepper in that I have no idea what the person shown was "really" like. The portrait becomes neither a portrait-of so-and-so, nor even about a face so much as it is ... whatever that (properly) unspeakable feeling is that one gets from the Weston pepper. Another option beyond snipping the connection, is the cyclical, the seasonal, and the ritual; that which ever returns. For example, in this picture (actually a photogram) by Adam Fuss of a child's Christening gown [ LINK ], it is both poignant, because the child is long gone, and life-affirming in that such Christening gowns are used over and over again in each successive generation of children. It remains fresh because, in the fullness of time, it returns. "A time to be born, and a time to die; a time to plant, and a time to pluck up ... " Iconic news photographs also remain vibrant, sustained within their historical narrative. In contrast to snipping or cycling, they amplify the indexical nature of what they show. "A time to get, and a time to lose; a time to keep, and a time to cast away ... " I think that art photography can also knowingly use/amplify indexicality -- Walker Evans's work, for example. Do you think about time's effects on your work? Do you deliberately work with or against the indexical nature of photography? "... a time to every purpose under the heaven ... " As always, I welcome, encourage!, the in-line posting of any of your own pictures that are relevant to the discussion.