Luc Dewaele, dagboek

Over fotografie en leven.

Real diary (671)

My students made better pictures while I was explaining.

 

Real diary (670)

Homeward bound.

Real diary (669)

Shields of self-interest.

Real diary (668)

To photograph people is to violate them, by seeing them as they never see themselves, by having knowledge of them that they can never have; it turns people into objects that can be symbolically possessed. Just as a camera is a sublimation of the gun, to photograph someone is a subliminal murder – a soft murder, appropriate to a sad, frightened time.

Susan Sontag

Real diary (667)

Not just people.

(P.s. I skipped the former number. My friends know why.)

Real diary (665)

Artists.

Real diary (664)

Artists.

Real diary (663)

Artists.

Real diary (663)

Artists at work.

Real diary (662)

Artists.

Real diary (661)

The ultimate wisdom of the photographic image is to say, ‘There is the surface. Now think – or rather feel, intuit – what is beyond it, what the reality must be like if it looks that way.

‘Photographs, which cannot themselves explain anything, are inexhaustible invitations to deduction, speculation, and fantasy… The very muteness of what is, hypothetically, comprehensible in photographs is what constitutes their attraction and provocativeness.

Susan Sontag

“La suprema saggezza dell’immagine fotografica consiste nel dire: “Questa è la superficie. Pensa adesso – o meglio intuisci – che cosa c’è di là da essa, che cosa deve essere la realtà se questo è il suo aspetto”. Le fotografie, che in quanto tali non possono spiegare niente, sono inviti inesauribili alla deduzione, alla speculazione e alla fantasia.”


Real diary (660bis)

It all happened today, in my small world.

Real diary (660)

It all happened today, in my small world.

Real diary (659)

‘The single story creates stereotypes, and the problem with stereotypes is not that they are untrue, but that they are incomplete. They make one story become the only story.’ Chimamanda Ngozi Adichie

P.s. According to you, what’s the story of this picture?

Real diary (658)

 Every photograph is a battle of form versus content. The good ones are on the border of failure.

Winogrand

Real diary (657)

BXL. Trains and art. (And thinking of false artists A. Conrad, G. Goiris, M. Vanvolsem and their poor ambassadors, whose names I’ll remember soon)

 

Real diary (656)

Esen. (I had some family there, back in 1914)

Real diary (655)

Mechelen.

Real diary (654) im Rückspiegel

Berlin.

‘Und am Ende gewinnen die Deutschen’…. and we’re coming home again with the tail between the legs.

Real diary (653) im Rückspiegel

Berlin.

“Photography to me is catching a moment which is passing, and which is true.”

Jacques-Henri Lartigue

Real diary (652) im Rückspiegel

Berlin. With another academic year in mind.

“You have a lifetime to learn technique. But I can teach you what is more important than technique, how to see; learn that and all you have to do afterwards is press the shutter.”

 Garry Winogrand

 

Real diary (651) im Rückspiegel

“There is nothing as mysterious as a fact clearly described I like to think of photographing as a two way act of respect. Respect for the medium, by letting it do what it does best, describe. And respect for the subject, by describing it as it is. A photograph must be responsible to both.”

Garry Winogrand

 

Real diary (650) im Rückspiegel

Berlin. Mediterranean colors.

 

Das Leben ist kein Ponyhof.

Berlin, am Mauer.

Stripes, no stars.

(I begin to understand Garry Winogrand)

“The photograph should be more interesting or more beautiful than what was photographed.”