
Alastair Fontana, "Fishing Children", Kashmir(Ilford FP4) Artsediments©2011
(English)
I never understood exactly how some pictures come to life so vivid. It fascinated me. This is particularly true for black and white pictures, where the distraction of color is not there. Sometimes, you have that all the independent elements that need to contribute to the image behave as one. The subjects, the composition, the background, the focus, the exposure, the resolution of the lenses, everything resonates together. Cartier-Bresson defined this condition as the decisive moment, but such a term implies that photography is some sort of hunting. I don't think this is true. I believe that photography is more like fishing: you sit there, and sometime it happens. God knows why. Related to the state of mind of the observer, perhaps, or to the one of the subjects, or both.
I never understood exactly how some pictures come to life so vivid. It fascinated me. This is particularly true for black and white pictures, where the distraction of color is not there. Sometimes, you have that all the independent elements that need to contribute to the image behave as one. The subjects, the composition, the background, the focus, the exposure, the resolution of the lenses, everything resonates together. Cartier-Bresson defined this condition as the decisive moment, but such a term implies that photography is some sort of hunting. I don't think this is true. I believe that photography is more like fishing: you sit there, and sometime it happens. God knows why. Related to the state of mind of the observer, perhaps, or to the one of the subjects, or both.
Non ho mai capito esattamente come alcune immagini prendono vita così vivide. La qual cosa mi ha sempre affascinato. E' particolarmente vero per le immagini in bianco e nero, dove la distrazione del colore non è presente. A volte si ha che tutti gli elementi indipendenti che devono contribuire alla immagine si comportano come una sola entita'. I soggetti, la composizione, lo sfondo, la messa a fuoco, l'esposizione, la risoluzione delle lenti, tutto ciò risuona insieme. Cartier-Bresson defini' questa condizione come il momento decisivo, ma tale termine implica che la fotografia sia una sorta di caccia. Non credo che questo sia vero. Credo che la fotografia sia più simile alla pesca: ti siedi lì, e qualche volta accade. Dio solo sa perché. Forse lo stato d'animo dell'osservatore, o quello dei soggetti, o entrambi.
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