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Angle latent

P. Greenaway, The mysteries of the garden of Compton House (1982)

keep wondering whether the distinction drawn by Ghirri (the couple photographer passive / active photographer ) is sufficient to give an account of how things really are in the complicated world of photography. I realize, in fact, that in the rigid cataloging many aspects of photography can not find suitable accommodation. To upset these meditations came the discovery, in the rich (for method and results) Geoff Dyer's book , The infinite moment. essay on photography, another category: that of unconscious photographers, definition to be given, as reported by Dyer, the great Walker Evans: "Walker Evans said that one of his" favorite topics "being concerned" unconsciously photographers' by writers like James Joyce and Henry James. "

Dyer does not clarify what we mean by" unconsciously photographers. " Lets just guess. It provides, however, always calling Evans, the case of Walt Whitman as an example of use (Literary) conscious of photography: "In these Leaves of Grass photographed everything is literally" these verses and quotes "Look into my poems, the strong, large inland city, with roads paved, buildings of stone and iron, vehicles and incessant trade, / Look at the rotary steam, with many cylinders, look at the electric telegraph, which crosses the continent (...) / Look at the strong and quick locomotive, puffing, goes off to sounding the whistle of steam " calling them" a long caption in an enormous catalog of photographs ".

That's it, but no matter how slender this track seem to me the stone was launched and so I started to pursue the suggestion of the idea, which has expanded as circles on the surface water.

First, I wondered when and how I unconsciously photographer. From photographer, I tend to look at reality as a potential reservoir of images, a kind of subject headings and endless chaos. This means that the optical vision overlap (often with no apparent conscious control) made a mental vision of fake shots, evaluations of brightness, possible relationships between subjects, likely narratives, known images that re-emerge, but this is the toolbox of every (good) photographer. What, however, my brief self-analysis revealed the surprise is that this attitude is in place much more often than thought, and especially in unexpected situations. I noticed, for example, that I read by photographer: annotations in pencil all the time I leave the margins of the books are nothing more than photographic views, interior shots that active and help to bring out a visual subtext. I realized that I take when I read, almost unwittingly, a photographic point of view , a perspective on the words, frame it, I value the perspective planes, I try to define space and I have in the characters or objects in the scene, I imagine the light. Returning to many of the notes taken in the time I discovered that he was (unconsciously) attracted to images of other writers unconsciously photographers. are a few to sample:

"Kees did not want to sleep. He went to look out the window, or rather all'abbaino, and left wandering eyes on an extraordinary landscape: snow-covered meadows in the distance, then rails, buildings, iron beams, confused masses of material of a great station wagons which moved without engine plane, locomotive without cars, which marked furious pace, whistles, shouts, and sparse trees escaped the massacre, which drew a sad tangle of black branches against a sky cooled. " (G. Simenon, The Man Who watched trains go by)

" A red line on the white snow, / prey wound / that lame " (A . Kiarostami, A wolf lurking)

"... the scarlet berets of the dragons, the cloth of a red flag demolished, and the traces of blood on the snow that stretched in streams and drops reddish. " (B. Pasternak, Doctor Zhivago)

But here's the surprise. What they have in common, for example, these three images in addition to color temperature? All are winter scenes, in which the snow determines the dominant main Kiarostami and Pasternak, then, they also share the same color contrast white / red. But not only this, the text of Dyer provides illumination to read and see in new watermark a kind of "photographic unconscious" that emerges from the depths of subtext. Simenon, who was also amateur photographer, "the photographer unconscious" acts through the use of "natural viewfinder" represented by the window, the landscape picture is seen through the frame of a skylight. In Kiarostami, director, poet and fotogrofo, the selection of a few essential elements that make up the verses are hiding, as a preliminary sketch of the fresco, some of his photographs of winter landscapes . Regarding Pasternak, I do not know what relationship he had with the photo, but it certainly is difficult for me now not to see the assembly of the subjects strongly symbolic and allusive present in the scene (scarlet caps, cloth flag, rivulets and drops of blood on the snow) echo the theories of mounting and framing of S. Eisenstein. And I count myself, fishing in my notes, a specimen of use (literary) conscious of photography: the citation of the work of Bill Brandt by Leonardo Sciascia in To each his own to describe the exuberance physical widow of Roscoe (" ... while his naked body and certain parts of her body, flowed and dilated in perspective similar to those that the photographer knows Brandt obsessively play.") A striking example not only of the close link between word and image (photo) in Sciascia, but especially here that photography has become, in effect, narrative material.

At this point I try to draw a perimeter around the first of what Dyer had only hinted at. What can it mean "to be unconsciously photographers? It may mean, for example, that in our arsenal of communication is so underground, even how to view the photographic medium. It may mean that, even if not practiced, the photo station in the toolbox of writing like a figure of speech, a incipit, a similarity (as in the case of Sciascia). From this perspective, the examples cited may be read almost like a ecfrasi , that the verbal description of something that was perceived or imagined (more or less conscious) according to the way that photography has to take over the world: the frame. What does, in fact, seem to be a latent shot.

But there's more: the circles on the water will go ever further from the shore. How to define, for example, the images that come from a time when photography had not been announced yet? I can still speak of "unconscious photo for Goethe's Elective Affinities (1809) or for haiku Konishi RAIZAN (1653-1716) and Ito Shintoku (1653-1716)?

"Charles greeted her husband at the door [the hut of moss] and made him sit in a way that, through the door and windows, he could embrace in one glance the different perspectives that showed the landscape nearly as framed. " (Goethe, Elective Affinities)

"the back door / in the stock reflected the cold / Stain Bamboo" (Konishi RAIZAN)

" rain: / through my gate / a bouquet of irises " (ITO Shintoku)

In these cases, I could probably talk to empathize with Dyer, unaware of photographers rummaging among the" frames "of his own memory of life without the audience even know what a frame. However, what seems to emerge from all of the examples cited so far is that there is in humans, whether belonging to the civilization of the picture or screen dislpay or that of a mode of vision related to the idea of \u200b\u200bsetting, regardless of N technique. In other words, I suspect that everyone has (not know whether innate or culturally induced) need a goal, the reality, of looking through : an almost physical need to frame, even if only mentally, the vastness of the visible to make it more bearable and perhaps more understandable. The need for a visual rule, more instinctive than conscious, to help select the chaotic flow of the daily portions of reality that reassuring gaze, so as to protect themselves from excessive exposure, a bit 'as when we try to protect your eyes dazzled by brightness too intrusive. A hidden frame, which acts as the collective unconscious, to bring order, as he said Ghirri, in space and in her eyes.

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gaze wandering

Dear Dorian, Shanghai

inaugurate the new year with the message of the Blog of the photographic exhibition of Dorian Cara (nomad look. Meeting with people and countries) which will open Saturday, January 15 the House of World Cultures in Milan. It 's a message that I do with great pleasure not only for the bonds of friendship that bind me to this photographer and art historian, but also the reasoning (On nomadism and restlessness of the photographic gaze, a certain way of doing travel photography, for example) that the gestation of the show has brought with him. For this reason, reported here in full, the text of the presentation written for the occasion, with a commitment to develop their ideas in a more organic way in the coming months with the help of those who want to contribute to this dialogue.



a tireless mobility exists in the look ahead to the things of the world. Our visual perception is, in fact, 'samples' continuous (alternation of eye movements, short breaks, head movements and the body), except that most of the time we interpret the perception of a scene as a stable and continuous if, instead, is a series of 'views'. In other words, look not the result of a glance, but a set of very numerous shots of an eye constantly on the move. What we are not always aware of which, except for the photographer, who is aware of this ceaseless movement, this perception vivid and vibrant. An awareness that makes the difference between the everyday look and a photo, and upload it to a restless dynamism, the attempt to find a delicate balance of contentment fact, harmony and meaning. And 'the vocation of the nomadic look Photograph: a mixture of curiosity cabinet, restlessness and fear that formal boundaries of missing significant portions of the world. It 's a nomadism which ceases only when, suddenly, the endless images possible, appears in the viewfinder where everything is in place and makes sense.

these nomads of the eye is the perspective taken by Cara Dorian in his images, not so much for the variety of places (the photographs were taken on four continents), but for a dose of restlessness that drove him to continually seek connections between the fragment (the image "where everything is fine") and the set (the context beyond the boundaries of frame). Dear Dorian was able to take an open view of the nomadic more receptive and responsive, always listening and for this reason, respect for others and their culture. With this look, the photographer has made every shot in a meeting of knowledge and understanding, was able to avoid the "wonderful at all costs" which features - too often - travel photography in order to concentrate on Man, his gestures and History shows that you can still take pictures while respecting the uniqueness of places and cultures and to collect, so the gifts the world offers us.

of this connection and shows the sensitivity of this item is clearly visible in the layout the stand, where in each panel, you can watch the ongoing dialogue between key image, the cultural context and the particular counterpoint text, halfway between the caption and the travelogue.

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Photographer passive / active photographer photographic memory

Ghirri said Louis, in the course of his photography classes , that " the photographer no longer has a passive role , a performer, but also becomes a designer, a person who participates in the drafting of a communication project in the sense understood much larger than in the past ". Ghirri words which indicated the collective work made by photographers and writers and merged with Explorations on the Via Emilia .

Ghirri In these few lines could clearly define what it meant to him doing photography and a photographer . On the one hand, the photographer passive, to act as executor and the other, the photographer, designer whom he named, for reasons of symmetry, focus.

With this idea in my head I tried to reflect around this strange pair of opposites and in the end I found myself in his hands two lists that show what might be the characteristics of the active photographer and the photographer as passive.

Photographer person (or player)

It 's the casual photographer, collector, holiday, Sunday (intensity and spirit, not by availability of time: great Mario Giacomelli photographed only on Sundays). It 's the only photographer who shot the episodic, like a solitary word, dropped in the silence of a walk. It 's the photographer who does not seek his own voice, and look, but is limited (he insists) to reproduce photography charges proven, safe and approved. E ', in short, a mere executor of the gaze of others : his eyes, the reality is a score that does not belong. And 'the music of someone else.

Photographer active (or designer)

It 's the photographer who collects images to build their own sentences, which has a syntactic awareness of what he is doing, that is: look , selects, reproduces, pages, size, approaches. In other words: up.

The photographer designer, for example, for a portfolio shoot, snaps pictures with which other thinking the photo of that moment can speak; triggered by sensing what other image should be sought.

The photographer, designer, active, is not limited to this, but is projected continuously in a hypothetical installation of their work. The shot of the photographer is no longer active "enforcement" because it becomes director of his own personal layout and representation of the world.

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Clues (4) - Archaeology of the face

Franco Castellari, Portrait with genealogy

There is a place where memory is deposited merciless at times intrusive, sometimes silently, almost imperceptibly. This place is the body or, more specifically, her discovery region: the face.

There are many things etched in the faces: our descendants the traces left by the painful history, those impressed by fatigue, illness or those inexorable time. Traces silent, waiting to be read, that photography has collected and variously represented.

face is hidden in our genealogy, one that more or less consciously seek every time we say a person "He has the eyes of his mother, his father's mouth, the eyes of a grandfather ... ".

Look at the faces this perspective is taken as a small archaeological dig, back to the tracks recorded in our genetic traits, to reconstruct the history of underground forms of our face, and with them, including that of our presence in the world.

I found interesting is the approach adopted by photographer Franco Castellari Piedmont during a workshop dedicated to portraits ( Looking for Ahab ). Castellari, with the use of a partial double exposure, has created a self-portrait in which they appear to be your face (today) is the portrait of his father (the origins), superimposed unobtrusively in the shadows.

The result is an image of a face represented in depth, showing both its present and its past. An act of archeology photography that has shaped invisibility of the roots. The presence of a watermark of the father figure is the visual equivalent of a private family history: the discovery of its "geological". It 's a picture that says "I now have this, but they are because there have been another body and another face - that's what emerges in the shadows - which created the face that are now " .

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Starting the driving simulator. Select Pigio the joypad. I do not understand why the default always put the camera tracking. I prefer the comfortable interior, even the visual way, where I put my full attention on the wheels. And never mind if I lose the reflections of light on body. Be there in front of the car rolling and sliding is just a nuisance. Part

the race. Brush curves. Yes, there's some shaking, but my guide is almost perfect. The tours follow each squeezing all the resources of my wheels. The competition is tough, but yes, I am convinced that it has never gone well. Photo finish victory! Fantastic! Back

the external camera, rotates around the car of the winner, my, that ... but what happened? The sides are completely ruined, and also the front wing seems to have problems. The runner behind me was only three tenths, but his car is perfect, as output from the dealer! I must have missed something. Should be revised in the replay.

Heck, more than a few shake-up, there I made a killer move! And even before the barriers were just touched, but hair like a pro. This damn street view then gives only the illusion of control, but in real life would be huge disaster!

not as easy as I thought! I was there, just concentrate on myself. I swear, I thought that was the right thing to do! And yet ...

say that I try to mind it, trying to improve every time. I thought to myself that the work had been successfully completed, and instead ...

And instead we always want a camera outside. For as much as you try to sharpen the sensitivity to the nuances, I can never fully understand how my ways of doing things are perceived.

And sooner or later fall into the error of offending others without even noticing.

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camera outside my short black

happens that you go up the monkey for something. It happens that there are more stories, you must have it now! Not just that, you do not live anymore! It happens that comb through YouTube and the rest of the web.

One afternoon and you're experienced,
"yes, the requirements are fair." It happens that a store near you has a 'clear occasion, cabbage quell'acustica almost new less than 200 € Ricapito not again! ", Even though the first two days were unaware of the existence of that brand. It happens that Massimo Varini be your myth (and two days before I totally ignored him as well!).

very short nails, hammer toes on the keyboard. The streets are starting to remove some 'sensitivity, there the place where you suffer so much.

happens that for two weeks Blen Blen Blen like a madman.
And then overwhelmed by work, evening fatigue, dust to remove.

Alessandro Mark Sultan and expect something to bring me back to arpeggios and chords?!

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Another trip in the U.S. The long eclipse

"Fabio, go to Pittsburgh!"

I turn back. No, there is none. And by the way my name is Fabio own! She tells me to see that. "Yes, I tell you, merdaccia! Come on. "

No, you were wrong, but I like to think fantozziana : "But you, dolls, puppets, how the hell you call! Keep the tickets and Vadi, vadi. "

Apart from the fact that the diligent administration has not UniGe fleshy yet to reimbursements (...), September 20 I was on a Delta Airlines Paris - Pittsburgh.

But Pittsburgh, where is it? But what questions, in Pennsylvania. (And where is Pennsylvania? No wonder that this is not ashamed.) And what is it? Come on, the famous Carenegie Mellon University! addition to the huge University of Pittsburgh. Wow, cool!

In fact if you say to a person any CMU, which would be the thrill of the unknown names such as Berkeley, Stanford, UCLA, Harvard, Yale, and so on. But the PhD students from around the world know that you will find one of the strongest departments of Computer Science the world, and PhD student would do the same false papers to write on the business card firstname.lastname @ cs.cmu.edu . Nothing

internship for me (for now), but only a conference. Launched into the fray with my poor English, I survived and so it was enough to return to Genoa triumph.

Take away the fact that I tend to be led to ignore the whole geography of the places unless they have been, Pittsburgh is a city that does not wait. City of bridges and steel, from which the Steelers football, Pittsburgh was essentially as Cornigliano: Cornigliano when 900 was the beginning of a solar village Homes with bathrooms in the shadow of the late Ray Castle, Pittsburgh churned out steel for skyscrapers, bridges and wars. Today we are at the stage "Crikey, maybe it's time to remove 'ste steel mills to expand the Aurelia," Pittsburgh is a green and modern city, all students and new technologies.

Once there, hard not to feel that Mr. Andrew Carnegie has been responsible for something: college, art museum and natural history, his name is everywhere.

Italian student, look at the Cathedral of Learning , then put yourself to cry, because you do not have the NEVER!

Thanks Luis!

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Every time I come back to my little blog. At the end a bit 'represents me.

See the same post, the same Gallardo destroyed nearly a year saddens me, but I admit that there is almost never the desire to get back to writing.

But this is a little piece of "non-choice", where one day I decide to talk about sports, another day of what is written in the newspaper, or what I just experienced.

A corner where I forget to be teachers, to learn something C + +, machine learning, NLP ... and just any one, that what looks around him without expecting to be able to answer every question.

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Clues photographic memory (3)

Syracuse, Cathedral

Take, for example, the Cathedral of Syracuse, are immersed in full Baroque and suddenly, tac! from the perimeter wall of the left emerge Doric columns.

memory inside things

are there and are incorporated in the walls of the church: Ancient Greece and Baroque architecture, a couple of millennia of living and producing, together, meaning much deeper than that which results from appearances. A meaning that was born as a Doric temple, becomes Byzantine church, is transformed into a mosque with Arabs, it converts into the church by the Normans and so on, until the day trippers noisy today. That is to say that the signs of time, the layers of memory are in things, as a substantial part of them, but we must recognize them.

harmless This evidence is likely to dazzle the eye in excess of vision, such as EA Poe's purloined letter, because it looked "newspaper" is not enough. Faced with this type of external memory need a bifocal gaze , able to settle simultaneously on the past and present, who can see the layers of memory and recognize what is woven dress that covers the reality: the wire of time.

All traces of memory incorporated in the layers of the past are alive and pulsating, and release meaning the issue as a sap, which imbues the next layer and goes back to the surface of contemporary life. Recognize means to prevent fading and indifference that the reality is impoverished parts considerable way.

I think that's necessary to look in a photograph to represent, consciously, a reality that wears its heart. Exemplary in this sense, is the look on things geological adopted by Mimmo Jodice : concentrate both on the present and past, managing to transform ' old into something that is our contemporary

M. Jodice

but also to transform the here and now of our present findings in a for the future

M. Jodice

Yes, because one suspects that in front of the photo, the whole world is a great find waiting to be recognized and collected in an image, aimed at a more or less near future, as he did with the Atget's Paris, the great .

There is, then, another special place where memory is deposited in subterranean forms, genealogical: the face, which will be the subject of next note.

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clues, memory, identity

Ziyah chart, you can Quest for identity

of a different nature, far more dramatic than those described in the previous note Boltanski - are the findings of the grand plan Quest for identity of the photographer Bosnian Ziyah Gafic . For two years Gafic photographer's personal items found in mass graves where they were anonymously buried the victims of the massacres carried out by the forces of Ratko Mladic. Destination of the photo will be the network ( www.Quest.bo is currently not yet active) to be recognized, or rather, to be able to trace the identity of the owners through their missing.

In all this two things strike me. The first is the image (a small sample on September 19 No of Wired, but I also found this English blog ). Formally, it is of still-life compounds with strict simplicity: portraits of humble everyday objects (cutlery, currency, sunglasses, keys, watches, toothbrushes) or emotional (Polaroid muddy or burnt edges and colors that change color to yellow). The choices of recovery are neutral: the view from above, the soft light, without shadows, the background: an anonymous gray panel that is repeated in all images. The same neutral caption: a code that corresponds to the number under which the ' International Commission on Missing Persons lists Ritov & bones and place of discovery. In short, all the devices together to avoid disturbing statement adopted the recognition of the subject. Gafic as if it had imposed the rule laid down rules for the production of photo-identity cards for access to documents: to minimize the possibility of polluting the identity of the subject. I realize suddenly that the proposed changes Gafic photos (personal items) in identity papers of a subject (person) died, that his act is a load of photographic piety and moral strength with where photography is also an instrument capable of giving identity to the world , any one, perhaps not perfect, but still identity, which is essential to memory. Then I asked myself, and I ask those who want to read these lines, how many and what other images, including the billions of photographs taken, they are - even in a metaphorical sense - as many of the world identity, or even attempts to provide a identity possible bodies, faces, stories, gestures, places?

The other thing that strikes me is the place chosen by Gafic for the transmission of images: the network, turned into a huge board on which to hang these tracks, leave something to restore identity, to someone. The deal to share visual information per se is not new. I think, for example, portraits published in the newspapers to facilitate the discovery of all family members soppravvissuti ' Holocaust or, more recently, the panels set up in the huge refugee camps in Zaire, on which the Tutsis from Rwanda fleeing hung photos relatives disappeared in the hope that other refugees, interception, could provide information of any kind. But the thing that strikes me is right here, in the idea that, basically, around the world can be a huge refugee camp and photography, with its practices, not only through the functions of representation, but also seeking lost identity.

In the bottom of all this, I wonder if there is, perhaps, a little 'space groped for a chapter in the history of photography as a story of identity lost or refused (immigrants, refugees, stateless persons , orphans, migrants, minorities and outcasts of every kind ...); or to create a photographic project to be carried through, with a cleaner look, the refugee camp in the world.

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I lost a mountain of memories

C. Boltanski, Personnes (Milan, Hangar Bicocca - Status of the work at 09.26.2010 11:14)

friend and I have to "trace collector" Massimiliano Orlandoni reporting work Personnes of Christian Boltanski prepared for the Hangar Bicocca in Milan (June 25 to September 26, 2010). The French artist of emotion and experience has created a mountain of multicolored dresses accompanied by the sound of continuous recording of heartbeats that Boltanski collected since 2008.

A mountain of evidence of human life, finds dumb people, lives and stories. Multi-sensory experience that is enriched in the last three days when, by order of the author, the audience was invited to "disperse" the work freely taking the garment from the installation, to make them revived.

I helped myself to the dispersion of the work of Boltanski and movement of the memory of those Personnes unknown. I did it by taking two shirts and two sweaters, I did it wondering who are these clothes belonged and to which part of the world comes, I asked where they are now, those people, I did try to imagine such moments of joyful, painful or just a quiet witnesses were the clothes I collected.

But I have also contributed, photographing the installation status at 11:14 of 26/09/2010, to trace a work (memory) meant to be temporary and exist only because of its , "dispersion" in memory of the public. In short, a photo-exhibit, a small "garment" deposited in the net, it revived.

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Clues photographic memory (2)

Carmelo Bongiorno, Erice

I return to my inventory for clues after a short break in Sicily which provided, inter alia, on further reflection.

pictures intimate memory

In

previous post I mentioned Corot and his memory of places. I wonder: what kind memory has painted? That memory is represented by Corot intimate, private, arising from personal portraits of places. It 's a memory complex to be represented, because wrapped in a kind of opacity that the viewer can not be removed completely. To diminish this leans on the opacity of the representation power evocative image, with the use of scattered clues in order to turn on the intuition of the audience, to stimulate their imagination. Sharpening and color are signs of alteration (among other possible) left to direct the viewer's mind than the apparent surface: indicators of the invisible.

A beautiful collection of these indicators emotional , photographic evidence of memory I've collected in an early work of the photographer Catania Carmelo Bongiorno , Island intimate (1997). In his photographs Bongiorno staged an incredible variety of visual equivalents of the private memory :

- the fuzzy (example: 01. Stretto di Messina ; 07. Cefalù )

- the breaking of the minimum focusing (03. Catania 17. Portopalo )

- the use of highly evocative depth of field, as in intense Erice or 12. Noto. [The numbers refer to that present in the author's website].

All this is then summed up the choice of style, very important, to photograph in black and white , with a renunciation of the accuracy of the color that best results both visually dazzling light of the violence of the South (and its memory) is the sense of distance and elusiveness that each private memory port, unavoidable, in itself.

In this type of memory intimate is a counterpoint to another kind of memory, external, more visible: the fact that many fragments they carry in more or less stratified. Objects, places, buildings, faces and bodies on which they are filed with the traces of time and they live together, more or less visibly. Another type of memory and other types of images, which will be the next post.

(continued)

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Clues photographic memory (1) lake

Corot, remember Mortefontaine (1864)

Making photography in the sense of memory? Which signals to use image to represent the intertwining of different times that stratified often live in our eyes? I try to draw, from this post, a partial and provisional inventory visual equivalents to the viewer that indicate the presence of a time "other" than this photo.

Looking for a paradigm

An important example is found in painting Camille Corot (1796-1875). Corot, after painting landscapes en plein air, begins to paint landscapes in the studio, using no more than direct observation, but the memory places. In these "memory paintings" in the title of the sites have a concrete and precise topographic ( remember Mortefontaine; The clearing memory of Ville d'Avray ), but are made using two techniques that aim, however, to achieve a final effect of imprecision, almost the image of instability: the soft focus (or focus "soft"), and alteration of colors. These two are perhaps the way that we might take as initial models for the rendering of visual memory paradigms that photography and cinema have often adopted and still use it. With soft focus the entity and its edges lose definition, with the discoloration (usually a desaturation) is the color of the subject to become unstable, losing clarity, the effect of distance similar to that produced by the gradient of "aerial perspective" already observed by Leonardo.

Quello che Corot ci ha lasciato in eredità, dal punto di vista delle tecniche di rappresentazione della memoria, è il senso di lontananza che il ricordo porta in sé, una lontananza che non appartiene allo spazio, ma al tempo. E ciò che è lontano nel tempo trova una possibile manifestazione visiva nell'imprecisione del disegno e nella inafferrabilità del colore. Un paradigma attivo da almeno due secoli.

                                                                                                                             (Continued)

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What I photographed?

I photographed Lake Endine, between Bergamo and Lovere, after years of not coming back in those places. I had commissioned the work shortly before the August and immediately I started to develop mental pictures and shots from memory of that landscape. Reappear on the surface reeds along the banks, the west side in the shade in the afternoon, its atmosphere of quiet waters. But once in place everything is mixed: the transformations that have occurred over the years has crept imprecision instabile dei ricordi.

Cosa è successo? Credo si sia attivato uno sguardo strabico , rivolto al presente e, nello stesso tempo, al passato: uno sguardo profondo. Ad ogni inquadratura costruita nel presente si è sovrapposta l'immagine del lago che avevo accumulato negli anni, come un errore di parallasse con cui fare i conti ad ogni passo. E mentre scattavo mi sono domandato quale lago stavo fotografando: quello reale di oggi (verità oggettiva) o quello immateriale che emergeva dal ricordo (verità emotiva)? 

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Photography Society of Photographers and memory

Mi domando cosa succede al nostro this when we go back with the memory of the past, where it is the ego of the here and now remember when and how it looks once emerged from the memory. In short, it undergoes transformations?

Similarly, as a photographer, I wonder where I will end our current in the moment of capture, and which undergoes changes with the creation of the image. What remains in us, in our minds, our bodies, of the photographic act?

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I like to think that photographers are a bit 'like boats in the seas around, perhaps with similar routes, or not. Mariners that occasionally appear in some port to exchange travel stories to tell or show merchandise visit lands and spices collected in their travels. A traveling store. And as any sailor also the photographer is always in search of bulletins navigation, indicators of tracks or, more simply, opportunities to exchange ideas with others in their profession on their knowledge, on their fantasies.

This post is nothing more than a first message in a bottle given to the network, hoping to be picked up by other photographers, other curious sailors.

Captain Ahab

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FAIL!

I and others are just Tanned founders and directors of a friendly facebook fanpage where we love to translate them into English ... and Salento flies in the face of this note ..

answer ... I feel this way ...

FAIL!

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the owner of the animal is offered food Pet's Planet of the line that best meets your needs, tastes and habits of his four-legged friend.

The sale is conducted with the guarantee "satisfied or refunded".

Home delivery is free.

The characteristics of foods for dogs and cats Pet's Planet:
foods are balanced with a proper balance between protein, fat, carbohydrates, vitamins and minerals, are of high palatability, obtained using only natural ingredients and modern technologies. They contain nutrients
high biological value, and therefore more comparable.
meat and fish used are screened to ensure quality and wholesomeness of the finished product.
The intake of carbohydrates is obtained from cereals, controlled from planting to harvest, are cooked in order to achieve maximum digestibility.
no artificial colorings and flavorings are added.
The particular production system, patented, enhances the nutritional value of ingredients.
Superior Foods also contain Bio Diet, a supplement based on
fructo-amino acids, unsaturated fatty acids (Omega-3 - Omega6)
herbs and grasses which helps to maintain good health.

Where and how foods are produced Pet's Planet:
The company, which has more than 40 of experience in producing with a philosophy
"craft" and the essential ingredients "of the territory."
The production system is controlled and the quality is Italian.

How much food Pet's Planet
The price of each item is determined by content, the production process and gain the right of all persons involved in the activity.
It 's a fair price, and less than clear reference products.