By John Berger
“There aren't any pictures that are denied. All photos have the prestige of truth. what's to be tested is in what approach images can and can't supply desiring to facts.” With those phrases, of our so much considerate and eloquent interrogators of the visible provide a novel meditation at the ambiguities of what's possible our straight forward paintings form.
As developed by way of John Berger and the well known Swiss photographer Jean Mohr, that idea comprises pictures in addition to phrases; not just research, yet anecdote and memoir. Another method of Telling explores the strain among the photographer and the photographed, among the image and its audience, among the filmed second and the stories that it so resembles. Combining the ethical imaginative and prescient of the critic and the sensible engagement of the photographer, Berger and Moher have produced a piece that expands the frontiers of feedback first charged by means of Walter Benjamin, Roland Barthes, and Susan Sontag.
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Additional info for Another Way of Telling: A New Theory of Photography
Gaston, unlike most woodcutters, works by himself. He admits that this is more dangerous than working with a team. But he has a passion for forests and likes working alone in them. Also, he works too fast for most other woodcutters. After a few days they leave. ’ ‘That’s the photo I’ve dreamt of since I began cutting down trees,’ he said, ‘the moment when the tree crashes down and falls exactly where you wanted, so long as you know your job. ’ Gaston is paid by the cubic metre of wood he delivers to the edge of the road, where the lorries pick it up.
The sequences of an individual life were surrounded by the relatively changeless, and the relatively changeless (history) was in its turn surrounded by the timeless. History used to pay its respects to mortality: the enduring honoured the value of what was brief. Graves were a mark of such respect. Moments which defied time in the individual life were like glimpses through a window; these windows, let into the life, looked across history, which changed slowly, towards the timeless which would never change.
They quote from them. It is because photography has no language of its own, because it quotes rather than translates, that it is said that the camera cannot lie. It cannot lie because it prints directly. (The fact that there were and are faked photographs is, paradoxically, a proof of this. You can only make a photograph tell an explicit lie by elaborate tampering, collage, and re-photographing. You have in fact ceased to practise photography. ) And yet photographs can be, and are, massively used to deceive and misinform.
Another Way of Telling: A New Theory of Photography by John Berger