Guy, thank you for your oh so kind comment. It moves me to know
that my image “sticks” in your mind. I guess that is always my hope
that an image I have taken moves others to create their own story. I will steal
a quotation from one of my photo heroes, Sarah Moon.
“I've always felt that photography provides an opportunity
for staging, for telling a story through images. What I aim at, is an image
with a minimum of information and markers, that has no reference to a given
time or place - but that nevertheless speaks to me, that evokes something which
happened just before or may happen just after.”
And, tension in an image is an important element for me.
I must say I love the book. I have my very own copy, one of the
first with a few errata, but I treasure it. Participating in this process and
the postcard exchange a few years back are certainly high points of my
connection with the group. Thank you all for sharing your images and your
words.
Thank you all for contributing to a treasure.
Rene
From: owner-photoforum@xxxxxxxxxxxxxxxxxx
[mailto:owner-photoforum@xxxxxxxxxxxxxxxxxx] On Behalf Of Guy Glorieux
Sent: Tuesday, August 03, 2010 6:41 PM
To: List for Photo/Imaging Educators - Professionals - Students
Subject: Re: My favourite page of the book
It occurred to me that the book
might in some way be a super - PF Gallery and that it would be fascinating to
read the comments on each pictures. I won't attempt to do that but
I will join Herschell on complimenting Mario's photo.
In my own personal case, it's Rene Hales' "Prison Blues" that
literally jumps out of the book and sticks in my mind as an extremely powerful
statement about separation and (I hope I'm not wrong in my interpretation
here) about the sexual tension arising from the forced separation between the
female friend and the prisoner. The whole composition, the cropping of
the girl's body, center on the girl's sexual area and the prison in the back
with the fence in-between. There is extreme tension between the two
points but it is completely offset by the great gentleness of the hands and the
soft texture of the T Shirt's.
I wonder how many shots it took to get this, Rene.. I would love to see
continuation into a small book on the theme of "Prison
Blues"...
There are two other pictures that I can't seem to get out of my mind (just like
sometimes a tune keeps repeating in your mind). These are John
Palcewski's "Self Portrait" and John Rettalack's 'Dolly and
Rosemary". I made some comments on John's Self Portrait in an
earlier Gallery: they centered around the intensity of the
"regard" (sight) and the whole _expression_ of the "visage"
and the association I made with an other unrelated body of work.
As for John's "Dolly and Rosemary", the picture (I treat the pair as
a single image) brings me back in time and space into a Fellini-type
environment. What we see of these two women and their environment is so
far away from the reality of most residency hospital. It is clear that my
interpretation of the picture is not likely to be representative of the
situation but I feel like if I were in some forgotten Italian palace that was
inhabited by smiling, richly and colorfully dressed residents wandering
in the corridors to exchange with the viewer..
Last but not least, the pictures of the 23 other participants are each in their
own way absolutely wonderful.
Congratulations to all, to Andy's elves and trolls and to Andy himself.
Guy
2010/8/3 Mario Pires <retorta@xxxxxxxxx>
Than you Herschell that is a great compliment :)
And all that in just a 15 minute subway ride, i must admit i
was lucky the 2 girls with the camera seated there :)
On Tue, Aug 3, 2010 at 05:35, herschel@xxxxxxxxxxxxxxxx
<herschel@xxxxxxxxxxxxxxxx>
wrote:
I'll probably get hell for this
single-ing out... but:
Although I really like all the work in the book, I must comment on the
wonderful page by Mario Pires.
The collection of images is so alive, vibrant and full of gesture. They
individually overflow with human experience and together touch a part of the
collective memory. They almost instantly brought a smile to my face and
kept me going back for detail. From the loneliness of the empty seats to the
warmth of the sharing of the photos to the solitude of the solo guy and girl.
They so beautifully address the way we set up and maintain the boundaries of
the spaces we occupy and the way we move into and out of our
"Shells".
Great work Mario.
--
Mário Pires
Curso de Estética Fotográfica -http://esteticafotografica.org
retorta@xxxxxxxxx
http://www.retorta.net
http://twitter.com/retorta
--
"...La photographie est menteuse car, dans la réalité, le temps ne
s'arrête pas." (Auguste Rodin)
