By John Berger
“There are not any images which might be denied. All pictures have the prestige of truth. what's to be tested is in what manner images can and can't supply intending to facts.” With those phrases, of our such a lot considerate and eloquent interrogators of the visible supply a unique meditation at the ambiguities of what's likely our elementary artwork form.
As developed via John Berger and the popular Swiss photographer Jean Mohr, that idea contains photographs 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 way of Walter Benjamin, Roland Barthes, and Susan Sontag.
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Additional resources for Another Way of Telling: A New Theory of Photography
It was sunny, but it wasn’t a sun that warmed, it simply shone with its violent light on people and things. Some were directly in this light, some were in shadow. There were no half-measures about this light. The peasants from the neighbouring countryside paid little attention to the quality of light; they had come to the fair to buy or sell cattle. As for me this violent sunlight posed certain technical problems. I would have preferred a cloudy sky, even mist. Making my way between the cattle, the peasants and the cattle dealers, I was looking for some angle of approach.
The photograph of the woman and the red hussar represents an idea. The idea was not Kertesz’s. It was being lived in front of his eyes and he was receptive to it. What did he see? Summer sunlight. The contrast between her dress and the heavy greatcoats of the soldiers who will have to sleep out. The men waiting with a certain heaviness. Her concentration – she looks at him as if already into the distance which will claim him. Her scowl, which will not give way to weeping. His modesty – one reads it by his ear and the way he holds his head – because at this moment she is stronger than he.
His way of opening his arms as if to welcome somebody who has just arrived. He looks like a worker who has a hard job and earns little money. It makes me think of the prisoners in the German camps, an armaments factory. I. , factory worker: A coincidence. We have the same rollers in our factory! By his expression I’d say it was Friday night, the end of the week’s work. He looks happy, I wish him a good week-end. What was happening: It was a foundry in West Germany. I was photographing a Yugoslav worker for a reportage made for the International Labour Office.