For me as photographer new impressions are surely important, however without speculating on the exotic. One should take not on the object but rather on the impressions of this object.
Once I understood that I’m actually picturing the same everywhere, independent of the country and place – and that’s about my personal impressions. Objects are different everywhere and often they are crying loud, but actually it’s not them what counts, but rather invisible pulsations and rhythm.
Somebody is tired, a child is sleeping, two guys are talking, – those are universal situations, everybody has seen something of the kind. And these situations in different places are clear in the initial meaning, that’s why one can read them from a photographic print like a note.
When I’m taking pictures, it’s an improvisation. It’s as if the notes have been all around me, themes are there, too, and I’m just trying to play my versions. Themes seem objective, while my improvisation doesn’t.
And then this process continues, and as soon as someone else can see my picture, he will be improvising, as if on the notes occasionally suggested by myself. It’s like his improvisation on mine. And for the spectator my picture is objective, he starts from it, because he has possibly never seen this photographed reality, but my picture is then objectively before his eyes.
The fact that my improvisation is not objective from a start is normal. It is however important that I believe in it. It’s crucial, because there are no unobjective notes, but there are false sounds. Not to produce them, one should only show to the others what one believes in.
Actually, that’s how one should make a choice, what to show.
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