"Unlike any other visual image, a photograph is not a rendering, an imitation or an interpretation of its subject, but actually a trace of it. No painting or drawing, however naturalist, belongs to its subject in the way that a photograph does"

John Berger's quote draws an extensive distinction between photography and other visual art types like painting and drawing by emphasizing the distinct and actual connection that photographs have with their subjects. Unlike paintings or illustrations, which are interpretations or representations produced through the artist's perception and technique, a photograph is a direct imprint of truth. It is a "trace" of its subject, recording a moment in time as it physically existed, without the intermediary of the human hand. This quality endows photography with a credibility and immediacy that other artistic forms struggle to duplicate.

In arguing that no painting or illustration, no matter how practical, can belong to its subject as a photograph does, Berger underscores photography's function as a mechanical and chemical procedure that faithfully tapes light patterns from a scene. He indicates that this process is devoid of personal reinterpretation, offering an objective viewpoint that distinguishes photography from more subjective art kinds. Subsequently, a photo is a testament to the presence of its topic; it serves not just as an image but as evidence that something was present in front of the lens at a particular immediate.

However, Berger's declaration also welcomes more reflection on the implications of this "trace". While photos keep a direct line to reality, the framing, timing, and context chosen by the professional photographer present a layer of subjective decision-making. Hence, although a picture starts as an unchanged imprint of reality, how it is utilized, analyzed, and viewed can vary widely.

In addition, in an era where digital manipulation has ended up being common, the idea of a picture as an unquestionable trace is increasingly complex, triggering us to consider the evolving definitions of authenticity and fact in photography. This technological development challenges the conventional understanding as proposed by Berger, prompting a consistent re-evaluation of what it suggests for a photo to be a direct trace of its subject.