The wise advice in art schools (whether it is painting, drawing or photography) "use the whole frame/canvas" does not mean only to fill the rectangle with objects, subjects, shapes, colours, shades …
Populating every angle does not necessarily mean that the frame is used meaningfully.
Because, oddly some might say, the most important part are the limits, the edges of the frame against which the contents are measured.
A shape, any shape, looks totally different depending on its distance from the outer limits, and consequently any cropping becomes an act of creation. Unfortunately, not in this art, not in photography.
We are lucky enough (unlike cinematography) to have a rectangular "dictator" trapping not only our vision but also our subjects. The impossibility of escaping is for once welcome.
In fact, the whole artistic endeavour in photography is the choice of what stays in.
Widely known stuff you would say, but allow me this reminder: Cropping is denying your art previously made through the viewfinder when triggering the shutter. Obsessively changing the limits of your pictures is entering another world, sometimes a world of pain (for the viewers).
Tasos is, honestly and intuitively, allowing his picture to live and grow in the original form it has been conceived. But he is also proving to us all something else equally important: the viewers are able to recognise a meaningful interpretation of reality albeit any "aesthetic" or "technical" barriers. And thus the respect becomes reciprocal. The only way to live a photographic life, a photographer's life.
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