By John Berger
“There aren't any pictures which are denied. All photos have the prestige of truth. what's to be tested is in what method images can and can't provide aspiring to facts.” With those phrases, of our such a lot considerate and eloquent interrogators of the visible provide a unique meditation at the ambiguities of what's likely our elementary paintings form.
As developed through John Berger and the popular Swiss photographer Jean Mohr, that conception comprises photos in addition to phrases; not just research, yet anecdote and memoir. Another means of Telling explores the strain among the photographer and the photographed, among the image and its audience, among the filmed second and the stories that it so resembles. Combining the ethical imaginative and prescient of the critic and the sensible engagement of the photographer, Berger and Moher have produced a piece that expands the frontiers of feedback first charged by means of Walter Benjamin, Roland Barthes, and Susan Sontag.
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Extra resources for Another Way of Telling: A New Theory of Photography
Hairdresser: They are holding papers in their hands. They must be waiting for a signal. It’s in Asia. Men waiting to be vaccinated, or waiting to vote. Their faces are all similar. And the filth. Men waiting to be paid. They are poor. Factory worker: What country is it? Are they Algerians, perhaps Moroccans? Are they posing for a photograph? It’s hard to know what they are doing, or what they are waiting for. From their faces and their eyes, you can see that they don’t eat every day. What was happening: A tea plantation in Sri Lanka.
Water pipes taking water to the city. The boy had gone to sleep on the pipes because they were cool. A FRAMED PORTRAIT OF A WOODCUTTER One day the woodcutter’s wife stopped in the village and said: ‘I’d like to ask you a favour. Would you take a photo of my husband? ’ Gaston, unlike most woodcutters, works by himself. He admits that this is more dangerous than working with a team. But he has a passion for forests and likes working alone in them. Also, he works too fast for most other woodcutters.
On the return journey, once again with a place by the window, I had a camera ready: how do you free yourself from an obsession, when you are a photographer, if not by photographing the object of the obsession? And so, at a five-hundredth of a second, hidden behind my camera, I saw again those emaciated children running barefoot the length of the train, receiving nothing. Neither from the others, nor from me. NO SCOOP Many years ago I was travelling across Yugoslavia in a small 2cv. Citroen. I took my time, happy to be discovering so much that was new to me.
Another Way of Telling: A New Theory of Photography by John Berger