 |
|
|
|
[Photography is simple. It is merely to discover, collect, arrange, anticipate or provoke exquisite subject matter, and then to choose, invent,
or wait for that properly illuminating and enhancing light, in order to utilise the proper electronic or mechanical equipment,
and the optical and chemical principles and processes, which will isolate, immobilize and capture the combination
f o r e v e r in a visually meaningful and aesthetically interesting way. It takes only a camera and film.]
The technique is an object, and the object is a technique. This creates chance for the a c c I d e n t due to interplay between light, shadow and chemicals . One than has the f r e e d o m to choose to preserve or dismiss the accident. There is a leeway that one can get through these accidental things something much more profound than what you really wanted in the first place which rests somewhere in the I n t e l l e c t u a l intention. Images, however, belong to the emotional sphere. To create an accident based on intellectual intention is impossible as the rationality stays on the way of emotional domain. Hence , I can never be sure of my own final result until all stages of photographic r I t u a l are completed and when I can identify the sparks of possibilities gathered discriminately in each frame. Because emotional domain is chaotic and undermines rules of convenient rationalism I choose to e x a g g e r a t e reality in front of lenses of my camera and in my inner eye through concentration translating physical appearance into e m o n a t i o n o n of reality :the essence of a landscape, object or the person. Since this moment a distortion belongs to the image itself and people can read what they are wanting. Titles are unnecessary - they lay within the image itself.
I never try to create a story within a picture . My focus is purely on image - a visual and physical impression which must come directly into the nervous system through the eye of the beholder.
The technique is an object, and the object is a technique. This creates chance for the a c c I d e n t due to interplay between light, shadow and chemicals . One than has the f r e e d o m to choose to preserve or dismiss the accident. There is a leeway that one can get through these accidental things something much more profound than what you really wanted in the first place which rests somewhere in the I n t e l l e c t u a l intention. Images, however, belong to the emotional sphere. To create an accident based on intellectual intention is impossible as the rationality stays on the way of emotional domain. Hence , I can never be sure of my own final result until all stages of photographic r I t u a l are completed and when I can identify the sparks of possibilities gathered discriminately in each frame. Because emotional domain is chaotic and undermines rules of convenient rationalism I choose to e x a g g e r a t e reality in front of lenses of my camera and in my inner eye through concentration translating physical appearance into e m o n a t i o n o n of reality :the essence of a landscape, object or the person. Since this moment a distortion belongs to the image itself and people can read what they are wanting. Titles are unnecessary - they lay within the image itself.
I never try to create a story within a picture . My focus is purely on image - a visual and physical impression which must come directly into the nervous system through the eye of the beholder.
