The trained artist could draw a head or a hand from a dozen perspectives. The photographer discovered that the gestures of a hand were infinitely various, and that the wall of a building in the sun was never twice the same.
︎︎︎Excerpts from The Photographers Eye, John Szarkowski, 1966
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5 May-6 Jun 2022
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But he learned also that the factuality of his pictures no matter how convincing and unarguable, was a different thing than the reality itself.
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And once made objective and permanent, immortalised in a picture, these trivial things took on importance.
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The vision they share belongs to no school or aesthetic theory, but to photography itself.
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Speaking of photography Baudelaire said: “This industry, by invading the territories of art, has become art’s most mortal enemy”.
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But whether produced by art or by luck, each picture was part of a massive assault on our tradtional habits of seeing.
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And once made objective and permanent, immortalised in a picture, these trivial things took on importance.
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The vision they share belongs to no school or aesthetic theory, but to photography itself.
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Speaking of photography Baudelaire said: “This industry, by invading the territories of art, has become art’s most mortal enemy”.
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Most of this deluge of pictures seemed formless and accidental, but some achieved coherence, even in their strangeness.
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The subject and the picture were not the same thing, although they would afterwards seem so.
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If photographs could not be read as stories, they could be read as symbols.
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Some of the images were memorable, and seemed significant beyond their limited intention.