英国作家杰夫·戴尔：探究看与看见的区别 sina.com.cn - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from sina.com.cn Daily Mail and Mail on Sunday newspapers.
Mon 19 Apr 2021 02.00 EDT
Geoff Dyer first became interested in photography not by looking at photographs but by reading about other people looking at them. That meant the holy trinity of seers: Susan Sontag, Roland Barthes and John Berger. For Dyer, the most inspirational of these three was Berger, about whom he wrote his first book,
Ways of Telling, 35 years ago, and from whom he learned his habits as a critic â always letting the evidence of his eyes have precedence over theory, and bringing what psychologists like to call âhis whole selfâ to the task at hand. In Bergerâs writing, that had invariably meant something soulful and learned, almost sculptural in intent. Dyerâs sensibility is more fleeting and alive to comic ironies; his writing dramatises both a restless attention, and the moments it is stopped in its tracks. He shares with his mentor, however, that autodidactâs sense of bringing his singular frame of reference to bear on a singular f
И пак да дойдеш capital.bg - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from capital.bg Daily Mail and Mail on Sunday newspapers.
Geoff Dyer is telling me about his Covid-19 vaccination. âAbout two or three weeks ago, suddenly the whole vaccine thing exploded, and I was inundated. It was like when I used to get invited to literary festivals â suddenly I was inundated with invitations to have a vaccine!â
Dyer has just published his third photography book, See/Saw: Looking at Photographs (after The Ongoing Moment and The Street Philosophy of Garry Winogrand). Reading this book is, simply put, a pleasurable experience, recalling Wildeâs image of the critic as artist. In writing criticism, I ask, is it important for him to achieve an aesthetic quality?
Why we still shoot black and white film
March 1, 2021
Black & white film still has the ability to inspire passion and creativity in its users, even in this digital age. We talk to three photographers who continue to embrace the medium in very different ways
Esther May Campbell
Film photography has been in Esther May Campbell’s blood since childhood. She was given a Polaroid camera when she was eight years old, but it was the Olympus OM1 she received in her early teens that really changed things.
‘My teens were quite tricky times,’ she explains. ‘I was at a fairly dishevelled all-girls state school, and there was a certain amount of bullying. Taking pictures helped me navigate some of those relationships, and being in the darkroom meant I could escape and process the pictures of the world around me. It was bliss.’