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return on this series, a year ago, on a beautiful sunny day, which saved me from a moment of very dark humor.
I think it is a form of mania that it does not detach myself from my camera ... and shoot, unworthily, even through the thick double-glazed windows filter the coach with whom I'm moving.
This is a story back to those to which I often indulge.
" photos so you do not take from the bus!" preliminary vain a voice coming from the rear seats of the bus when I'm on board.
Who says?
I think that if someone says that something is not done, or are there reasons not to do it, they are already perceived as motivation to do it. Not always, of course, but in photography for me is like that.
"Do not you?"
"Why?"
If the answer does not convince me, in a fragment of the second impulse of instinct and take a decision in a flash shot. There are
worried about too many photographers of the rules, some admit to serve as the foundation, I myself am committed to build and I still commits us, and I admit that if certain concepts were found to be defined "rule" is because with 'experience accumulated over the years by many people who do not dare say naive, we come to find a match that could be called a glimmer of objectivity. But in art I think you should go ahead should be to force the pioneers, mavericks at least, one can not 'constant concern to certain rules.
Personally I distrust those who always refers to these strange anxiety, I personally am wary of words like "humility" more often useful to those who shall issue instead of the recipient under the various forms of criticism.
must also be this that leads me to see photography as a form of paint applied with a technical means other than the brush, and preference in the formation of my visual background, the vast heritage of fine art, visual and general sense, rather which bring me to the "picture" that often contains some practice in standardized risk of being ... an exercise in technical and technological equipment (especially now in an age of "barbarism digital"). Too many times I watch on web forums, and more, a practice of photography, which often verges on pure technicality or the implementation of homework.
"It's an illusion that the pictures do the car .... you do with the eyes, heart, head." Henri Cartier-Bresson
head. .... seems silly at times, yet I often think about how many images are born without a camera, how I spent whole years without making a shot yet accumulate visions. Basically it is the love for nature, for the vision of life and the world that it gives me that pushes me to photograph, so the bulk of my shots are taken during hiking, or more accessibly, in the hills around town where I live.
Years ago I got tired of photographing, I had bought a compact camera for something more comfortable and lightweight to be used along the mountain paths, on the first things seemed to work, took many pictures, multiple pictures, with less effort than with the camera then again Semi-automatic borrowed from my father. I say at first, because within a year I stopped taking pictures, I realized it was not "merely the result" however, then still very casual, I was interested, was the act of vision and its re-creation that interested me, I was interested in bringing out what I had in mind. But in the meantime release clicks .. and this almost never happened, although many shots were, together with many horrible, but good.
Five years passed without a camera when turned below, in the meantime I saw I saw, and saw. We created images in my mind, I often wondered which photo they would come, first striking a view or an interesting detail. I was like a sponge, I continued to absorb and accumulate ...
Today I can say that many pictures taken and apparently born of the intuition alone, which always has a key role in detecting the vision in his "moment" are actually born as embryos and slowly matured in my own head when not photographing.
So much so that today often go out without a camera and try some ideas .... .. if the light at sunset is unforgettable is the risk of biting your hands, but the visual heritage that is acquired gains a lot. I think it's worth it, to become good observers, however, and before that bad photographers. Moreover I do not think there is a possibility other than, if not the first condition is fulfilled.
Another phase in which there is evidence of how the "head" has a large stake in photographic production is the stage of "post production", thanks to a device Today marks which often consists in resuming the processing of shots went almost into oblivion, after months, even a year, in the following case.
escape the memory fresh, the feeling of the moment, though beautiful, unique and often constitutes a first format in which the photographer has to face. Often the idea from seeing beyond the moment and, if not impossible to produce beautiful images in the first selection, to produce images often prevents even more interesting that perhaps the time for "instinct ignorant" you are caught but are known not to take in their full value in the hours immediately following the shooting.
The vision can 'be as the wings, as well as bars or the walls of a room.
here a year ago I gave the original colors blue, blue, this picture because I create the sensation of the cold and beautiful winter day. Not occurred to me to virarla in black and white.
I do today, and I find that the image taken on a different drama and short stories better than the contrast between the frozen and hostile nature hikers intent to overcome the adverse way.
This shot unwrapped it .. ghost too, too much flare, the judged inadequate basing only on technical features. At the time I wanted to keep the shades open, the realization that today, more varied, even giving value to that explosion of iridescent sun made possible by optics not so much "good" in light of those situations.
But I mean .. at the end .. who cares? or not?
give up that bell'azzurro that day, a year ago seemed unthinkable.
Today, I close my eyes and think of the cold day of bright sunshine. Eyes half closed, the world now seems to appear too strongly, up to blind.
Giving back to the delicate blue that characterized this "gradient" a year ago, seemed unthinkable. Today I do not remember so well, well yes, but not as good as a year ago, I think the drama of the shadow line, the evocation of anxiety that involves the passage into the unknown. Condensing in an 'image, the subject of
Shadow Line by Joseph Conrad.
remember now the cold diamond ..... in fact, the sun warmed the heart of that day, but the cold, there was, he could not or did not want to make.
It 's weird also hated the cold and beautiful in its own way.
Scelsi un altra immagine, che amo tutt'ora, questa, più stretta fatta con il tele, mi sembrava meno completa.
In realtà ora la trovo più impattante, più dentro, oggi riesco più immaginare di essere lì guardando questo scatto, e realizzandolo un po' stinto da ricordo e pur tuttavia vivido di contrasto, invece che l'altro, più ampio, realizzato con corta focale, più costruito, e più distante, come un cartolina.
Non riuscivo a capire come lo scatto con la sua luce originale potesse rendermi la sensazione di quel momento, e non me la rese in effetti. Chiudo gli occhi, sento replace the cold, biting air, the glare of snow even in the shadow of the mountain, and the shining gem in the valley.
close my eyes ..... and see.
Andrea G.
28/01/2011
