SHALLOWS, REED BEDS AND STREAMS
In the broader context of communication techniques, the photographic representation is a basic element. The simplicity of this visual static factor has the effect of immediately improve the relationship between those who produce an image and those who use it.
The perceptual vision mechanism is activated automatically and independently in modern man, and when the image takes on certain special characteristics, the result can be powerful, sometimes even disruptive.
Here comes into play the Semiotics, since an author – the one that produces the picture – should be aware of the need to structure the visual message. This is to make more efficient communication. It then opens a vast field in which the photographic image is only the end product of a complex process. It is not an easy path and the action of the camera is therefore almost marginal.
This is precisely what distinguishes the common owner of a camera that shoots instinctively and the author who uses a learned method to convey a message. He acts with determination, motivation and specific communication techniques. Obviously, under these conditions, the scenario is opening up boundless and includes, for example, factors like the specializations shooting (nature, reportage, advertising, fashion, graphics, etc.), the analysis of the relationship of man with life, the places and the world, the documentation and illustration.
When a professional photographer (who usually works in a targeted way for several customers, who give him their approval and confirmation) acts as an author, producing images that match totally to his communication needs, and represent his thinking and his art, his authorship
CAMERAS AND SUBJECTS
Urban legends and tell tales spread news of improbable photographing truths.
I must confess I was fond of cameras and lenses. I had a crazy passion for some. I mean the objects, the machines, the lenses, for themselves. I spent all of my money to have the best, the absolute best. Well, many of them I never used, I was only proud to have them. And still am. Monomaniac, you say. That’s it, and it’s a private issue. As for my job, cameras were only tools, neither less nor more. Worth only for what they could do. I could shoot horrible snaps with Hasselblad or Sinar, and smart ones with a throwaway Kodak cardboard camera or a Polaroid. Or a cellphone today. The real truth is photography is not a camera matter. It is a complex interaction of various elements and circumstances (some casual): you only have to be there and make click. About the subjects, unless you are forced to one particular, you can try to catch the poetry of anything whatsoever. Good lights, appropriate background, and the camera you happened to have with you. Not a real mystery, tough. Just a chance to express a spark of your brain within a mirror shard. To print 18×24 cms.