“We do not remember days, we remember moments. The richness of
life lies in memories we have forgotten.” - Cesare Pavese (Italian man of letters)
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Does this statement mean that photography becomes the search for
a composition that gives life to buried memories?
If so – I like that (most of the time) – Roger
A quote for my top 10 on memory & photography
Are photographs reminders to live in the now?
Found this wonderful ‘Mindfulness clock’ photo at the Emotion Machine site
Marc Yankus – a painterly photographer
What has been your most positive experience in the realm of fine art?
MY: While working on my new series on the computer, I recently had to leave my studio to attend a concert. Outside while walking down a street, I realized that I was inside my own imagery as I noticed the shapes and lights of buildings in New York. I was terribly excited by this feeling. Outside was inside and vice versa. Interview HERE
I inevitably felt resonance with the, for me the newly discovered, Saul Leiter;
Marc’s site is HERE
ARTICLES:
From Seattle Post Intelligencer
Another blog about Marc Yankus
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Photography and words
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The statement below seems to be a key one concerning images, or at least photography, and words.
Photography and words
Despite all claims or fears of the contrary, we do not live in a visual culture (see Reading images). The visuality of our culture is always text-based, or text-mediated. To put it bluntly: you will always need words to say that: “an image is stronger than thousand words”.
As Victor Burgin puts it, in an often quoted passage of his no less often quoted collection Thinking Photography:
“We rarely see a photograph in use which is not accompanied by writing: in newspapers the image is in most cases subordinate to the text; in advertising and illustrated magazines there tends to be a more or less equal distribution of text and images; in art and amateur photography the image predominates, though a caption or title is generally added. But the influence of language goes beyond the fact of the physical presence of writing as a deliberate addition to the image. Even the uncaptioned photograph, framed and isolated on a gallery wall, is invaded by language when it is looked at: in memory, in association, snatches of words and images continually intermingle and exchange one for the other; what significant elements the subject recognises ‘in’ the photograph are inescapably supplemented from elsewhere.”Burgin 1982: 192)
From PHOTHEREL
…
Jane Bown – great simplicity, great empathy, great photographs
The following video is a wonderful interview showing a range of Jane Bown’s work and recollections about her work and the great and good who she photographed;
Jane Bown worked for the Observer newspaper from 1949.
Many of her portraits are so wonderful that you feel you are in the presence of the subject – and that the essence of the character of the subject is being revealed via the photograph.
For example her portraits of John Lennon are exquisitely sensitive and beautiful – so many of the photographs of him had veneers of stupidity. I suspect that this was often John fooling to cope with the stupidity of many of those with whom the four had to deal.
Jane Bown’s portraits collectively tell us a lot about her as a person as well as about her as a photographer.
If you want to know more about Jane Bown start HERE or via The Guardian newspaper HERE


![Four in a Row [Explored] Four in a Row [Explored]](http://static.flickr.com/7018/6782703137_25b3b3b811_t.jpg)


Unititled, 2000.











