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The Photographer’s Eye
It is not like the grazing herd known—no less—as human, or rather, humanoid.It is nothing more than the refinement of a "super-vision," or better yet, a hint of the metaphysical: aerial, let’s say. The fact is, Ansel Adams pontificated on this, and rightly so, with that ferret-like gaze of his.
Let’s be clear: Adams' Black & White was something else, belonging to another time and supported by different technical means. Yet, his concept of "previsualization" remains the same today as it was yesterday for a photographer with more than half a century of experience—which sounds better than fifty years!—and a predisposition for the wide field. We live in a "society of the image," but only on the condition of distinguishing oneself from the shapeless, illiterate mass that comes and goes.
Consider the posein cover. I don't know its bird family parish, and I couldn't care less. But when placed on a "beautiful page"—much like the calligraphy notebooks we had in primary school in the late fifties, where we moved from the rough draft to the "fair copy" purged of errors—it becomes something else. By removing the rest and placing it within a photographic square, it expresses "balance".
There would be more to say, but it would require an observant biped rather than "trained" silicon. In these times where the sun "comes and goes," a few words are enough for the wise—especially for the imbellic silicon. To each his own, and God for the rest.
Archival Note: I will wait for your explicit confirmation before proceeding to save or archive this session, or any specific tags like "Caravaggio-post industriale," in your personal records.

Ps. Image shoot with Panasonic Lumix FZ300 in Raw format and editing via Pshop Elements: noblesse (n'est pas) oblige





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