By John Berger
“There are not any photos that are denied. All pictures have the prestige of truth. what's to be tested is in what approach 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 probably our ordinary paintings form.
As built via John Berger and the popular Swiss photographer Jean Mohr, that idea comprises pictures in addition to phrases; not just research, yet anecdote and memoir. Another method of Telling explores the stress among the photographer and the photographed, among the image and its audience, among the filmed second and the thoughts 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 via Walter Benjamin, Roland Barthes, and Susan Sontag.
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Additional info for Another Way of Telling: A New Theory of Photography
And so the foregoing paragraph – and much more than that might be said – is relevant to the reading of Kertesz’s photograph. Which is presumably why he gave it the caption he did and not just the title ‘Parting’. Yet the photograph – or rather, the way this photograph demands to be read – cannot be limited to the historical. Everything in it is historical: the uniforms, the rifles, the corner by the Budapest railway station, the identity and biographies of all the people who are (or were) recognisable – even the size of the trees on the other side of the fence.
In any case it’s not easy to trick a Savoyard peasant. And I prefer to be frank about what I’m doing, whenever it’s possible. Near a line of calves some men were talking. Dryly. They had seen me but were pretending to ignore me. Suddenly one of them spoke out, not really aggressively, but rather more to amuse his colleagues. ’ ‘You’re taking some pictures of my cows! Would you believe it? ’ I laughed along with the others. And I went on taking my photos. That is to say, taking in my own way what was before my eyes and what interested me, without paying and without asking permission.
I know nothing about it. The best way of dating it is probably by its photographic technique. Between 1900 and 1920? I do not know whether it was taken in Canada, the Alps, South Africa. All one can see is that it shows a smiling middle-aged man with his horse. Why was it taken? What meaning did it have for the photographer? Would it have had the same meaning for the man with the horse? One can play a game of inventing meanings. The Last Mountie. ) The Man Who Set Fire to Farms. ) Before the Trek of Two Thousand Miles.