Puppy paws, detail
Shirin Laghai © 2012
Stephanie Jung
Stephanie Jung is a German photographer with a very individual perspective on urban landscapes. Her multiple exposure series from Japan is particularly impressive, featuring her unique view on areas such as Tokyo, Osaka, Shibuya, and Nara.
Self-discovery is above all the realization that we are alone; it is the opening of an impalpable, transparent wall - that of our consciousness - between the world and ourselves.
—The Labyrinth of Solitude / Octavio Paz
Final folio part I
Shirin Laghai © 2012
The female gaze: the suspended gaze, the disjointed gaze.
“…I don’t know how to work on my skin from within.”
Camera Lucida / Roland Barthes
“I never paint dreams or nightmares. I paint my own reality.”
Frida Kahlo
Behind the story I tell is the one I don’t.
Behind the story you hear is the one I wish I could make you hear.
Behind my carefully buttoned collar is my nakedness… behind this moment is silence, years of silence.
Dorothy Allison
Final folio part II
Shirin Laghai © 2012
The female gaze: the suspended gaze, the disjointed gaze.
“…I don’t know how to work on my skin from within.”
Camera Lucida / Roland Barthes
“I never paint dreams or nightmares. I paint my own reality.”
Frida Kahlo
Behind the story I tell is the one I don’t.
Behind the story you hear is the one I wish I could make you hear.
Behind my carefully buttoned collar is my nakedness… behind this moment is silence, years of silence.
Dorothy Allison
A photograph is a secret about a secret. The more it tells you the less you know.
—Diane Arbus
The female gaze: the fragmented gaze, the disjointed gaze.
Shirin Laghai © 2012
“The camera is a fluid way of encountering that other reality.”
Jerry N. Uelsmann
The female gaze: the fragmented gaze, the disjointed gaze.
Shirin Laghai © 2012
“Photography is a tool for dealing with things everybody knows about but isn’t attending to. My photographs are intended to represent something you don’t see.”
Emmet Gowin
The female gaze: the fragmented gaze, the disjointed gaze.
Shirin Laghai © 2012
“For the Photograph is the advent of myself as other: a cunning disassociation of consciousness from identity.”
Camera Lucida / Roland Barthes
Everybody makes mistakes; some people make beautiful ones.
—Vanessa Winship
“For me, part of the power of still photography is the ambiguousness of pictures, the ability to give a hint about a scene or event without being too absolute. Photographers are always looking for ways to capture the atmosphere of an event without being too literal about it. In this situation, I was photographing in a small village in India which had seen some caste violence. One of the women had been badly hurt, and she and her husband were going through a ritual exorcism to pray for her recovery and ward off any demons. They gave offerings to a god in a tree, and the woman went into a state of trance. Halfway through, I realised that my camera wasn’t winding properly, and when I processed the film I found that there were a lot of double and multiple exposures. In a strange way, despite being mistakes, those pictures actually do manage to capture the atmosphere of the place and scene better than the regular exposures, and it reminds me that the ambiguousness of photography is often stronger with a slight lack of clarity.”
The New Yorker / Olivia Arthur
http://www.newyorker.com/online/blogs/photobooth/great-mistakes#ixzz1vi9mUqZS
It is in the idleness of our dreams, that the submerged truth sometimes comes to the top.
—Virginia Woolf
Jay’s duet with Ben the Red (take one) / The gaze in motion
Shirin Laghai © 2012
“The camera is a fluid way of encountering that other reality.”
Jerry N. Uelsmann
Jay’s duet with Ben the Red (take two) / The gaze in motion.
Shirin Laghai © 2012
“Life appears always fully present along the epidermis of his body: vitality ready to be squeezed forth entire in fixing the instant, in recording a brief weary smile, a twitch of the hand, the fugitive pour of sun through clouds. And not a tool, save the camera, is capable of registering such complext ephemeral responses, and expressing the full majesty of the moment. No hand can express it, for the reason that the mind cannot retain the unmutated truth of a moment sufficiently long to permit the slow fingers to notate large masses of related detail. The impressionists tried in vain to achieve the notation. For, consciously or unconsciously, what they were striving to demonstrate with their effects of light was the truth of moments; impressionism has ever sought to fix the wonder of the here, the now. But the momentary effects of lighting escaped them while they were busy analysing; and their “impression” remains usually a series of impressions superimposed one upon the other. Stieglitz was better guided. He went directly to the instrument that was made for him.”
Paul Rosenfeld
For some reason, art is inevitably accompanied by melancholy, perhaps because art is always a memory. An artist who paints a portrait recollects the person. When a composer writes a symphony or even a small nocturne, inevitably he recalls sentiments that inspired him to create music. The mechanism of art is always memory.
—Alexander Sokurov
