By John Berger
“There are not any images that are denied. All photos have the prestige of truth. what's to be tested is in what manner images can and can't provide aspiring to facts.” With those phrases, of our so much considerate and eloquent interrogators of the visible provide a novel meditation at the ambiguities of what's probably our trouble-free paintings form.
As developed via John Berger and the popular Swiss photographer Jean Mohr, that thought contains pictures in addition to phrases; not just research, yet anecdote and memoir. Another approach 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 by means of Walter Benjamin, Roland Barthes, and Susan Sontag.
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Additional info for Another Way of Telling: A New Theory of Photography
2 PHOTO NO. 3 PHOTO NO. 4 PHOTO NO. 5 E. , market-gardener: According to the social position you find yourself in, the fact of being able to work, even if it’s hard, is a positive joy. H. , clergyman: A happy worker who isn’t ashamed. I find his gesture, as he turns towards us, fantastic. His gestures are the opposite of a dictator’s. Marvellous. He moves me and he’s making no concessions. I admire a chap like that. C. , schoolgirl: Somebody who’s happy. He has finished work. A. , banker: Work makes you healthy!
Somebody else is coming who thinks the first one is hurt. Banker: What an unattractive and uncomfortable place to take a siesta! Or is he meant to be on duty, guarding the pipes? No, that’s mean. Why is it that what is useful is always so ugly? ’ Is it a pipe-line? A feeling that it goes to the world’s end. An image of going-on, and of rest. The direction has already been decided. Everything else in the landscape disappears. Dance-teacher: How do you get a photo like that? It’s crazy, that tiny creature asleep.
Schoolgirl: This person is lying on that thing to warm himself. Somebody else is coming who thinks the first one is hurt. Banker: What an unattractive and uncomfortable place to take a siesta! Or is he meant to be on duty, guarding the pipes? No, that’s mean. Why is it that what is useful is always so ugly? ’ Is it a pipe-line? A feeling that it goes to the world’s end. An image of going-on, and of rest. The direction has already been decided. Everything else in the landscape disappears. Dance-teacher: How do you get a photo like that?
Another Way of Telling: A New Theory of Photography by John Berger