became apparent to me only when I compared the photographs of religious services, Sunday schools, and other activities in the churches and the missions, and especially when I compared the postures in those photographs to the less submissive postures people displayed in the posed portraits I made in their homes. Once aware of the pattern, I made a photograph whenever I saw a variation, as had happened when I photographed two women leaving Our Lady of Fatima Church after the pope’s video mass (fig. 56). Although they were not part of a group engaged in some religious activity, their stooped postures combined with the figure of Jesus looming over them to suggest a more general version of the theme of passivity.

Another broad notion that I worked with — technology and religion — began as a vaguely intuited connection between video popes and TV evangelists. But I didn’t see any specific connection between telephone poles and evangelism in the photograph of the cross raising at the Korean Christian Church (fig. 32) until after I photographed the Billy Graham telephone crusade (fig. 40). At the time, I included the poles because they were a unifying compositional device, they looked like crosses, and they alluded, in some vague way, to the church’s environment: the neighborhood and city in which it was located and the more general communicative process that makes up urban life. I could have explained the presence of the poles in the frame, had anyone challenged me, by saying that it was difficult to avoid including them. But that would be disingenuous: I could have kept them out, had I wanted to, by moving closer to the church. If I still wanted the sense of the neighborhood, as I did, I could have tilted the camera downward and excluded the tops of the poles (and with them the reference to crosses) or shifted it to the left to eliminate one pole and downward to eliminate the top of the other. I could have walked higher up the hill, so that the poles would not stand out in relief against the sky (which called attention to them) but rather would blend into a dark background (although then the cross would as well).