Posts tagged Black and White
I open the shutter when the movie begins, when the title shows up. Then I just leave the camera open for two, three hours - whatever the length of the movie is. When the ending credit shows up, I just close the shutter. So I photograph the entire movie images. When I process the film no images from the movie show, just showing a white light left on the screen. Interiors of the theatre shows, reflecting the white light coming out from the screen. The people who were in the theatre all disappear receiving this radiant white light from the screen, which means I probably want to say too much information ends up in nothingness. How do you show the nothingness, emptiness? You have to have something surrounding the nothingness. In this case, the movie theatre is the “case” that holds this emptiness.
- Hiroshi Sugimoto, from Contacts, Vol. 2 (1992).
Photos: Hiroshi Sugimoto, Theatres.
Of all the means of expression, photography is the only one that fixes forever the precise and transitory instant. We photographers deal in things which are continually vanishing, and when they have vanished, there is no contrivance on earth which can make them come back again. We cannot develop and print a memory.
Memory is very important, the memory of each photo taken, flowing at the same speed as the event. During the work, you have to be sure that you haven’t left any holes, that you’ve captured everything, because afterwards it will be too late.
Since the discovery of his Subway (1982) Reprint, I’ve been deeply inspired by Bruce Davidson and the compelling balance of reality/fantasy captured in his photographs. So I ventured out into the cyber-sea and fished out two video interviews; both worth a watch for anyone who’s ever attempted/aspired to shoot the streets. Much respect to the man who, at age 78, is still driven by the same passion he had in his preadolescent years, giving out photos to subjects, and dedicated to making contacts and connecting with the people and the world around him. I’m no critic of the *snap*-run! + a distant “f**k you asshole” approach, but Davidson’s style just makes me want to high-five the s**t out of him until he cries tears of pleasure spiked with pain.
Davidson on his subjects from East 100th Street:
While I didn’t have any agenda, they just felt good that someone wanted to see them. And that happens a lot with various bodies of work of mine where people are glad you’re there to see them.
Robert Doisneau on youth. My top 10 photographic moments that capture the playfulness, fragility and the white-as-sheet innocence of children through Doisneau’s grandfatherily-tender eyes.
Visit his website for more photos.