An ode to the … illuminati of photography (is an oxymoron in itself since the light is essential here).
"This new situation has created an army of photographers who run rampant over the globe, photographing objects of all sorts, sizes, and shapes, under almost every condition, without ever pausing to ask themselves, is this or that artistic?… They spy a view, it seems to please, the camera is focused, the shot taken! There is no pause, why should there be? For art may err but nature cannot miss, says the poet, and they listen to the dictum. To them, composition, light, shade, form and texture are so many catch phrases.…"
I am just trying to describe today's state of photography; or am I? Could be that I am just protesting?
Well, welcome to the army of perpetual protesters because the above text was written in 1893, i.e. more than 120 years ago. (E. E. Cohen)
The conclusion is that as much as the "dangers" or the "shallowness" of photography are concerned, these are one more of life's revolving, circular afflictions. When all seem to come to a, more or less, happy end, we are back to square one.
The established society watched in terror the poor having too an image of their ancestors. Even the most remote talent could emerge in the "big town" without even stepping out of his backyard.
Is the negative space fear coming from a rather primary concern of representing something that cannot be recorded? And why fight, in this case, against an absence which vests unmistakably a meaningful presence?
We don't make a photograph. We take one! It is the process of selection and not of synthesis (resolving a scene rather than composing it).
The image by Raluca Furtuna is not presented here to reflect the text. Her vision is not connected to any school or aesthetics. Her vision comes from working with the "thing itself", from engaging her skill of choosing and eliminating, and from acknowledging that time is not continuous but made out of personal crescendos, including visual ones.
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