《Black White Photography 》黑白摄影杂志2018年10月刊pdf百度云下载

《Black White Photography 》黑白摄影杂志2018年10月刊pdf百度云下载

But when it comes to images in our daily lives, there is such a vast number of them and there is no quality control so we often findourselves looking at pictures that are meaningless to us. Our threshold of boredom is quite low; we weary of the multitudinous nature of images until they begin to blur. Or we see pictures that we feel we’ ve seen before, replicas repeated over and over. My fear is that we are losing the sophisticated language of imagery and become monosyllabic.
This train of thought began over a breakfast conversation with my husband who asked me which photographers were the real ‘ greats’ at the moment.I hesitated to answer, which is not surprising because there is so much photography about-and, of course, greats’ generally emerge after they are dead; they surface after the rest fall by the wayside because they are special. But the reason they are special is that they are original and they speak to us in a profound way; we understand what they are saying.
So, how does this leave us who love to take pictures? For me, it’s going on an image diet, only spending time with pictures that have something to say to me. It means not diving intea sea of pictures and feeling like I can’t swim. It means going to exhibitions and taking a long time over them, it means printing my own work and showing it to a limited audience.
You may agree with me and you may disagree but I’d like to think you might consider what I’ ve said. The world is changing so rapidly that we have to hold on to the important things before they are swallowed up in the tidal wave of change.

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