The other day in a photography/psychology initiation we were trying to see what a photograph is conveying to us in order to better understand ourselves.
The fact is that photography is a double edged knife with no grip. It cuts out both the photographer and the viewer. Trying to explain exclusively our own photographs, has the advantage of making less victims.
Having said that, all obsessive photographers (already a pleonasm) know instinctively that nothing is definitely idyllic or nightmarish until it has been photographed.
A picture can free the author and devastate the viewer, as easily as it can harm the photographer and save the spectator.
This inherent duality of a photograph is sometimes coupled with the explosive tension of a waiting, a longing.
We cannot fail to underline here, how Ahmet is capturing the irreconcilable destinies of the boys, not to mention the temporal and spatial remoteness of the old man. The author grasps the smell of the ionised scene and at the same time knows how to "stage" the subjects in it (figure-to-ground for the main points of interest, uncertain low-key for the subject closer to the menacing obscurity of the open end of the frame).
Unavoidably Ahmet went through all the struggle of the process before the liberating shutter release. I am sure he was exhausted when putting out the camera. Who wouldn't be?
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