the vanity of grief

a second visit to Milano’s Monumentale, and this phrase still rings as the best description. the first visit was 6 hours, until I got kicked out, and this one was still 3 hours. the impact is still there, and unlike appreciating all the statues at a museum like the Louvre. for obvious reasons, despite the vanity of these burials, the emotional impact is quite subjective, regardless of the family that executed such pieces of art for their loved ones. it is the case that every visit is peeling at the layer of the impressionable collective arrangement, and revealing a personal connection to a few graves at a more intense level.

[ links ] more at instagram

when Kertészian goes towards Leiter-ism

I have been pursuing a project in Instagram, under Kerteszian, to bring simplicity onto a photograph with a sense from André Kertész‘s The Polaroids. a kind of emotional Haiku in a simple photo, be it made to look like a Polaroid or BW. the main thing is to reduce the visual noise when looking, before a photograph is taken. aside from the simple composition, there is André Kertész‘s use of shadows. while he was more graphic in the use of shadows, as in not necessarily used to obscure or create a negative space, my use is more into the negative space use of the shadow. none of this quite in the dominant language from Saul Leiter, as his negative space seems to be derived from obstructionism of other objects. (I think that both photographers also strive from that emotional Haiku.) however, it seems that in using too much shadow, the photograph (as shown below) goes to some place between André Kertész‘s and Saul Leiter‘s signatures. (NB: this is not an allusion to a similar quality, as that is not the point of my photos, rather to have an incomplete description as “photograph= photographer1 + photographer2 + « je ne sais quoi » “)

snapseed-2
alternate version to that posted on Kerteszian Instagram account

[ link ] Kerteszian on Instagram
[ link ] fernand de Beauvoir on Instagram

the reset via Lisbon

lucky to visit Lisbon for the first time, and it was fantastic in many ways. photographically, the supernice thing is to have a reset: each city makes a different connection, and obviously impresses on how to photograph it. the hills, the tiles, the shades… and on this visit, it was mainly the search for texture and shadowplay that piqued my interest. cities have become a tricky balance for me: in some ways, I like to abstract them, while retaining some hints that would keep them from being anonymous. (this photo also marks the link to my Instagram account, where this blog becomes the place where I post photos such as these.)

 

 

OLYMPUS DIGITAL CAMERA
Lisbon, 2017