PDF The Ongoing Moment Î Geoff Dyer

  • Paperback
  • 304
  • The Ongoing Moment
  • Geoff Dyer
  • English
  • 20 July 2020
  • 9781400031689

Geoff Dyer Ô 1 READ & DOWNLOAD

REVIEW Ó MUABANBATDONGSAN.CO Ô Geoff Dyer Geoff Dyer Ô 1 READ & DOWNLOAD REVIEW The Ongoing Moment Hose photographers many of whom never met in their lives constantly come into contact with each other Great photographs change the way we see the world; THE ONGOING MOMENT changes the way we look at both It is the most ambitious example to date of a form of writing that Dyer has made his own the non fiction work of a. Pretty likabley self effacing and amateur in the proper sense of the word as he s clearly very expert Kind of anarchic too seeing hats and doors and barber shops as nodes where one photographer meets another across generations I like his delivery friendly relatively unpretentious And for me personally it felt like an enjoyably wayward introduction to the who and what of overwhelmingly 20th century US photography But my that category It s the Emperor s New Clothes meets the Tulip bubble meets the Potemkin village I see a picture of a white picket fence They see sonething like The essential fence ness The sense that this fence was always there and will be always there yet isn t there And therein lies the paradox As if to suggest that we have reached the fence and could climb the fence but cannot for beyond lies our own mortality And in the foreground the ghost of what might be a tin can reminding us of the fence s immutable tincanniness It s a fucking fence I put it on Instagram last night Microsoft Access 2016 Intermediate Quick Reference Guide - Windows Version (Cheat Sheet of Instructions, Tips & Shortcuts - Laminated Card) generations I like his delivery friendly relatively unpretentious And for me personally it felt like an enjoyably wayward introduction to the who and what of overwhelmingly 20th century US photography But my that category It s the Emperor s New Clothes meets the Tulip bubble meets the Potemkin village I see a picture of a white picket fence They see sonething like The essential fence ness The sense that this fence was always there and will be always there yet isn t there And therein lies the paradox As if to suggest that we have reached the fence and could climb the fence but cannot for beyond lies our own mortality And in the foreground the The Painted Art Journal: 24 Projects for Creating Your Visual Narrative ghost of what might be a tin can reminding us of the fence s immutable tincanniness It s a fucking fence I put it on Instagram last night

REVIEW The Ongoing MomentThe Ongoing Moment

REVIEW Ó MUABANBATDONGSAN.CO Ô Geoff Dyer Geoff Dyer Ô 1 READ & DOWNLOAD REVIEW The Ongoing Moment Seeking to identify their signature styles Dyer looks at the ways that canonical figures such as Alfred Stieglitz Paul Strand Walker Evans Kertesz Dorothea Lange Diane Arbus and William Eggleston have photographed the same scenes and objects benches hats hands roads In doing so Dyer constructs a narrative in which t. A poetic meditation on photography that serves also as a history of photographic themes and concerns as well as of America itself the depression modernization transportation etc My feeling is that if you are a really serious photographer with your mind already made up about the medium then you will not like this book as it doesn t approach photography from either the viewpoint of the academic nor of the practitioner Dyer doesn t even own a camera He approaches it as a writer pure and simple and what he writes about is as much about himself as it is about photography Which is exactly his point about photographers they often approach the same subject hats barber shops backs benches but the photos are often about the photographer who took them than the actual subject matter at handIn this way Geoff Dyer s meditation is personal uirky he is attracted to those things that catches his eye on a whim makes him want to write about One of the things that catches his eye are photos taken by one photographer that resemble the work of another This gets at the heart of the identity of the artist versus his subject matter as well as the ongoing tradition that is built up between generations Much like in writing in photography there are also allusions references what have you so that a photo can transcend its immediate subject by embracing commenting on or rejecting previous photographs on the subject establishing a conversation across timemomentsSurely Dyer is aware of these same concerns in his own medium writing the book is peppered with uotes and references to writers before him be they directly related to the subject of photography Sontag Barthes Berger Benjamin or not people he cannot not allude to because they are in the very DNA of his writing DH Lawrence Rilke Whitman Didion Borges This melding of influences creates a very personal style that is the antithesis of academic writing Oddly enough it reminds me not of a specific writer ly tradition though a case can be made but of a direct lineage of those great personal documentary films by Agnes Vardas or of Chris Marker s Sans Soleil with a dash of Herzog thrown in as well Perhaps this feeling is only enhanced by the fact that this is such a visual book you must follow his arguments by examining the photos as well as the wordsAs a non photographer and even as someone who wasn t that interested in photography this book really drew me in I delighted to see them through Dyer s eyes The background information about each photographer the drama too and the fact that we get to follow them through different thematic threads deepens the appreciation of any one photo beyond its frame so that I began to see each one as a piece of a continuous web a meeting place between disparate viewsBut I didn t always see eye to eye with him there were some points he made that I didn t see at all though we were looking at the same thing His argument and Winogrand s argument that Robert Frank s photo of the SAVE GAS photo was one that baffled meLooming over the pumps is a sign with the letters S A V E illuminated and the intervening ones G A S barely visible That s all there is but for Winogrand the fact that it s a photograph of nothing that the subject has no dramatic ability of its own whatsoever makes it one of the most important pictures in the book What amazed Winogrand was that Frank could even conceive of that being a photograph in the first place The important thing is the photographer s understanding of possibilities When he took that photograph he couldn t possibly know he just could not know that it would work that it would be a photograph He knew he probably had a chance In other words he cannot know what that s going to look like as a photograph I mean understanding fully that he s going to render what he sees he still does not know what it s going to look like as a photograph Something the fact of photographing something changes Winogrand lost his way again but then came back with an irrefutable declaration of intent I photograph to find out what something will look like photographedThe conclusion he arrived at was very poetic I ll admit But looking at the actual Robert Frank photo which wasn t included by the way I just couldn t see the nothing that he was talking about Here I see so much going on The gas pumps look otherworldly like aliens that have landed on a barren landscape looking for earth s leader It s fascinating What s the SAVE GAS sign looks like the ribbon stretched across the finish line in a race as if these pumps were jockeying for position to cross the line What s not fascinating about it What I wanted was an explanation for why Winogrand didn t see the potential in this as a photographOddly enough I thought some of the other photos discussed to have much less potential photos of the open road for example stretching into the distanceIn other places Dyer tries to make so many connections tries to draw everything together into one interconnected photograph that I felt like he was stretching it a bit He takes too big of leaps in some ways but in other ways he succeeds And always he writes beautifully alternating between fact driven biography poetic prose down and dirty analysis and playful turn of phrase humorOne complaint many of the photos discussed were not included like the Frank photo above or were reproduced so tiny that I could barely make out the details Needless to say the internet was an important resource Hot Young Babysitter: A Sexy Babysitter Erotica Story gets at the heart of the identity of the artist versus his subject matter as well as the ongoing tradition that is built up between Aurora Borealis: The Magnificent Northern Lights 2019 12 x 12 Inch Monthly Square Wall Calendar with Foil Stamped Cover, USA Alaska Northern Lights generations Much like in writing in photography there are also allusions references what have you so that a photo can transcend its immediate subject by embracing commenting on or rejecting previous photographs on the subject establishing a conversation across timemomentsSurely Dyer is aware of these same concerns in his own medium writing the book is peppered with uotes and references to writers before him be they directly related to the subject of photography Sontag Barthes Berger Benjamin or not people he cannot not allude to because they are in the very DNA of his writing DH Lawrence Rilke Whitman Didion Borges This melding of influences creates a very personal style that is the antithesis of academic writing Oddly enough it reminds me not of a specific writer ly tradition though a case can be made but of a direct lineage of those Cracking the LSAT Premium with 3 Real Practice Tests, 27th Edition: The All-in-One Solution for Your Highest Possible Score (Graduate School Test Preparation) great personal documentary films by Agnes Vardas or of Chris Marker s Sans Soleil with a dash of Herzog thrown in as well Perhaps this feeling is only enhanced by the fact that this is such a visual book you must follow his arguments by examining the photos as well as the wordsAs a non photographer and even as someone who wasn t that interested in photography this book really drew me in I delighted to see them through Dyer s eyes The background information about each photographer the drama too and the fact that we Defect get to follow them through different thematic threads deepens the appreciation of any one photo beyond its frame so that I began to see each one as a piece of a continuous web a meeting place between disparate viewsBut I didn t always see eye to eye with him there were some points he made that I didn t see at all though we were looking at the same thing His argument and Winogrand s argument that Robert Frank s photo of the SAVE GAS photo was one that baffled meLooming over the pumps is a sign with the letters S A V E illuminated and the intervening ones G A S barely visible That s all there is but for Winogrand the fact that it s a photograph of nothing that the subject has no dramatic ability of its own whatsoever makes it one of the most important pictures in the book What amazed Winogrand was that Frank could even conceive of that being a photograph in the first place The important thing is the photographer s understanding of possibilities When he took that photograph he couldn t possibly know he just could not know that it would work that it would be a photograph He knew he probably had a chance In other words he cannot know what that s Ethical Decisions for Social Work Practice going to look like as a photograph I mean understanding fully that he s Apprendre à programmer avec Python 3 (Noire) (French Edition) going to render what he sees he still does not know what it s Witch at Heart: The Jinx Hamilton Series - Book 1 going to look like as a photograph Something the fact of photographing something changes Winogrand lost his way again but then came back with an irrefutable declaration of intent I photograph to find out what something will look like photographedThe conclusion he arrived at was very poetic I ll admit But looking at the actual Robert Frank photo which wasn t included by the way I just couldn t see the nothing that he was talking about Here I see so much Drawing Cutting Edge Anatomy: The Ultimate Reference for Comic Book Artists going on The United Methodist Hymnal Dark Red gas pumps look otherworldly like aliens that have landed on a barren landscape looking for earth s leader It s fascinating What s the SAVE GAS sign looks like the ribbon stretched across the finish line in a race as if these pumps were jockeying for position to cross the line What s not fascinating about it What I wanted was an explanation for why Winogrand didn t see the potential in this as a photographOddly enough I thought some of the other photos discussed to have much less potential photos of the open road for example stretching into the distanceIn other places Dyer tries to make so many connections tries to draw everything together into one interconnected photograph that I felt like he was stretching it a bit He takes too big of leaps in some ways but in other ways he succeeds And always he writes beautifully alternating between fact driven biography poetic prose down and dirty analysis and playful turn of phrase humorOne complaint many of the photos discussed were not included like the Frank photo above or were reproduced so tiny that I could barely make out the details Needless to say the internet was an important resource

REVIEW Ó MUABANBATDONGSAN.CO Ô Geoff Dyer

REVIEW Ó MUABANBATDONGSAN.CO Ô Geoff Dyer Geoff Dyer Ô 1 READ & DOWNLOAD REVIEW The Ongoing Moment In his last book YOGA FOR PEOPLE WHO CAN'T BE BOTHERED TO DO IT Geoff Dyer confessed that not only did he not take pictures in the course of his travels but that he did not own a camera With characteristic perversity and trademark originality THE ONGOING MOMENT is Dyer's uniue and idiosyncratic history of photography. book implored me to take notes as I read it From the very beginning I wanted to proclaim that Geoff Dyer had written a book that is so marvelous that I was shocked I haven t previously heard its praises sung by anyone else The fact that an accomplished writer who doesn t own a camera who has not taken pictures at all except as favors for intrusive tourists sorry they were mostly Japanese asking as they do for you to do this shallow deed for them and then going on to write one of the most if not the most intelligent and interesting books on photography ever written Credit this personal study by Dyer s to the book not having yet been written and Dyer needing to write it in order to learn what he wanted to in the process of indulging his needs Add to this the fact he wrote about many of the same photographers that I have loved in addition to a few I will learn to love even because of Dyer And only about twice by my count did Dyer inject his own stupid and sometimes idiotic sexual perversions into the text This side of Dyer the one lacking his making public all his perversions is the one I love and respect and I wish he would write in this voice often A review I perused prior to reading this book voiced the same sentiments as mine but better stated instead being Dyer s characteristic perversity not being present in his idiosyncratic survey of photographyThere is no way to include every photographer of note in a book like this The Dyer Project was about Dyer learning something for Dyer not us and I am glad he did it and lucky he chose some artists I was already enad with and actually had some previous knowledge of But there were a few I was not privy to and it is important to note in my piece here as it offers an offense as defense to Dyer s aggressive and authoritative prosecution that these pictures and subjects are all connected by a thread It is Dyer s posture of the common thread I am in disagreement with Not every artist looks and studies the work of other artists There are times when an artist has no previous experience or knowledge of a subject already done famously and to no little renown It was easy to understand the complaints I read by others about Dyer s book not having chapters However if one looks hard enough and notices the small things Dyer has separated his book length essay into several segments by using italicized uotes taken from some of the photographers he has highlighted Dyer begins first with the subject of eyes and blindness using Paul Strand s famous photograph of the blind woman and then continuing on with his accustomed style for using common threads to connect his dots Hands become the next subject and if I remember correctly he uses Alfred Stieglitz s photographs of Georgia O Keeffe and then introduces Strand as either copying or following this Stieglitz lead with his images taken of the hands of his own wife Rebecca I had not seen any of these hand photographs before and when I first saw them here I was not moved by either Strand or Stieglitz I took photos of my wife s hands a few years ago and it just happened We did not have a plan Dyer continued in this segmental thread to the me that is seen and used several photographs of Diane Arbus Alfred Stieglitz Paul Strand and others taken by photographers other than themselves to make his point again of them all being of the common pictorial tradition or reciprocity Dyer also acknowledged the difficulty in taking photographs discreetly and it is obvious in some frames that onlookers look on the photographer with disdain and in others with utter surprise at the photographer s audacity I believe it was Strand who eventually devised and modified a camera with the lens mounted on the side so he could take photos without his subjects realizing the lens was actually aimed at them I especially enjoyed reading the uite long section on the decline of Alfred Stieglitz his leading an important role in the world of photography and his intimate relationship with Georgia O Keeffe Because of this deliciously detailed exposition of Dyer s I engaged myself in a further study of this intimate and artistic relationship In the meantime let me focus for a moment on the nude photos and sensual activities involved in the as Stieglitz recounts making love to between model and photographer Dyer obviously loves this subject and I was surprised he did not get a little creepy and flaunt some of his unseemly perversions here as he did so often in his yoga book Dyer did a segue into another longer piece on Edward Weston focusing on his lust and desires Not surprising at all to me was Dyer s main center of attraction being on pubic hair The next chapter was Dyer s photographic study on the back Whether it was a nude back or the back of a sheriff or a crowd of waiting backs with one person turned the wrong way Dyer again attempted to thread his way among them all and find the commonality between them and the photographic tradition Again it is my experience that little remembered are pictures that have been the work of copycats posed or set up and it is obviously not art when it is From here Dyer went into hats and again I find it preposterous that Dyer would find his common thread between all pictures with hats in them There is nothing remotely or consciously connected to photographic tradition or homage by anyone producing photographs that happen to have hats in themAnd then there were the stairs Any artist is aware of good form and certain shapes that say something Geometric angles matter as well as metals concrete sky and hash Not everyone attempts to take a photograph of a subject they have seen before For the most part I believe the subjects choose the photographer For whatever reason Dyer felt it important to then talk about beds and from that slightly strange subject he moved to benches With Dyer it is always the photographic tradition or homage in play with these subjects Photographers shoot many of the same subjects with different results Dyer attempts to show us examples but cannot really tell us why one fails and another succeeds as he uses already recognized as great and acknowledged photos to demonstrate his points The object is for me anyway great photographers know how to recognize and then compose a potentially great photograph by using their own uniue point of view that all greatness has in common The short story writer Raymond Carver addressed this in one of his essays he wrote on writing According to Carver it helps for the artist to have a slightly different way of looking at things than the norm would have it Based on long personal experience and exhaustive study I couldn t agree with this Carver assessmentImpulse is critical to the artist in every media Several times throughout this book Dyer has referred to this photograph or that being a direct response to something done or seen before I do not think that this can be true in such general terms For example Dyer shows us Strand s White Fence and offers a lengthy Strand uote explaining how he went about taking that photograph and why Strand said the fence looked so American and would not be found anywhere but there Strand explained as analogy his experience as well of peering out of a moving train s window while traveling through the Soviet Union and how he saw a fence set against the background of a dark woods and how Dostoevsky like it looked to him But Strand did not have his camera with him so he could not take the picture Both of these situations are obviously artistic impulses But Dyer follows these two examples by doing his own figuring putting his own two and two together to deduce that the Untitled white fence photographed by Michael Ormerod over sixty years later was a response and homage to Strand s work This type of deconstruction drives me out of my mind If Ormerod actually chose to respond to Strand and give homage to his work he would have said so That is not something you leave to a critic or scholar to deduce or decideJohn Cheever used this Ormerod picture as the cover of his Journals Dyer then goes on to deduce that the picture of a damaged fence moved Cheever as a response to his own remarks in writing of his beliefs regarding marriages gone wrong turn bad persist as and even after they fall apart That may be true and is proof that we all are moved differently and see things from our own point of view But neither fence moves me in any way Certainly the fences are not seen today by me as being American as Strand saw his or Ormerod s fence symbolizing to Cheever a destructive marriage in a world gone wrong Frankly I think Dyer makes too much of Ormerod s fence At one point he says it is a commentary on Strand s picture He adds that it is also a contribution to that tradition And I say poppycock Too much is being said The fact that Cheever used it as the cover to his book Journals the fact that British art critic John Roberts deemed it Ormerod s own allegorical comment on the Vietnam Syndrome still does not in itself make it anything than it is a picture of a broken white fence that once protected a manicured lawn Why make of it It can simply be what it is an impulse manifested Next our Mr Dyer moved to the subject of taking photographs from a car or from the road This is one of my favorite activities and one that is never motivated by anything I had seen by Walker Evans Robert Frank or even Jack Kerouac for that matter The great Hungarian film director Bela Tarr has produced some brilliant moving images of fields and roads and I would be remiss if I did not admit to his aesthetic influence on me After my terrible and self destructive fall from the roof of my cabin in the spring of 2010 I enlisted the aid of my wife in making a film titled Biscuits and Striola a story about mortality based on the extent of my injuries while in the midst of my long and arduous recovery from them Not only did she take her clothes off for me in the making of my film but she drove the automobile from which I shot much of my moving picture I shot through the rain against cloudy skies all through the Midwest and up into northern Michigan There is a favorite segment of mine in the film where I shot through the bug smeared front windshield because I liked what I saw while passing through this small prairie farm town not because another photographer before me thought to do it first I also was not attempting to beat the other photographer or present my film as homage to his previous work Dyer persists in wrongly crediting Michael Ormerod with the brilliance behind the bug laden windshield images wherever they are given Fast forward two years later to this last summer when I shot for a new as yet untitled film several minutes of my wife walking naked through the Huron National Forest This particular section of forest is some of the prettiest and most vertical vistas of oaks and pines that lend themselves well to a pretty and lithesome naked lady A year before this I again shot film from out of the passenger window for a seven minute film I made titled My Father s Kitchen My point here is that these places demand this photo taking activity whether it is done in film or stills This is not some copycat need to do something better or beyond or evolved than what has come before This is what artists do The copycat film or photograph is dead There is something present in any great picture or film that must move the physical body enough that some critic or scholar can or wants to deconstruct or compare the picture moving or not to something else already givenDyer s text continues on with the subjects of doors and graves and whatever meets his fancy in the vigorous prosecution for making his point Dyer seems to have this need to compare and discount enough that it becomes grating and worthy of my responding to it Why would true artists busy themselves with doing the same as everyone else Why would true artists huddle in the same corner as all the others in this pathetic herd of humanity They would not True artists are moved to work by their own impulses A photograph demands to be taken The poseur is usually found out and not ultimately forgiven but instead is resorted to staying hidden in some dusty shelf or worse even thrown into the bin of discards and ever piling debris Just as every word is available to the writer as was to Shakespeare does little to assure that something significant will come from them and on to the page as well as it did for William The same goes for photographs Everything is available to all even those things that somebody else has seen first and already recorded That doesn t mean that another artist with the same or similar tastes will not see it too and choose to click the shutter And maybe luck or timing will win out There are most likely thousands of amateur photographs never seen by art critics and historians that would rank among our most moving and important But these great pictures will remain hidden for the most part by unwitting heirs and the pictures perhaps privately admired for their uality and emotion eventually returned to storage boxes underneath the stairsThere is an aesthetic wonder and textural form in a brilliant photograph Most novices cannot see it even when staring directly into its face It is no different than what a true mason or true carpenter or true anything owns as personal experience It is willful and spontaneous the the true artist applies the physical body to the making of whatever is desired of its time It is the practice and failure given to the daily exercise of doing what one must in order to save oneself from the ever encroaching and constantly pressing world It is the understanding of the demands of one s heart It is following the impulse being directed by a force surrendered to in full and then abiding by its principles True art has little to do with copying or responding to what has already been given The photographer s eye is what matters and gives the work meaning It is hoped then that others notice it simply for what it is Match Made in Heaven going on to write one of the most if not the most intelligent and interesting books on photography ever written Credit this personal study by Dyer s to the book not having yet been written and Dyer needing to write it in order to learn what he wanted to in the process of indulging his needs Add to this the fact he wrote about many of the same photographers that I have loved in addition to a few I will learn to love even because of Dyer And only about twice by my count did Dyer inject his own stupid and sometimes idiotic sexual perversions into the text This side of Dyer the one lacking his making public all his perversions is the one I love and respect and I wish he would write in this voice often A review I perused prior to reading this book voiced the same sentiments as mine but better stated instead being Dyer s characteristic perversity not being present in his idiosyncratic survey of photographyThere is no way to include every photographer of note in a book like this The Dyer Project was about Dyer learning something for Dyer not us and I am I Thought It Was Just Me (but it isnt): Making the Journey from What Will People Think? to I Am Enough glad he did it and lucky he chose some artists I was already enad with and actually had some previous knowledge of But there were a few I was not privy to and it is important to note in my piece here as it offers an offense as defense to Dyer s aggressive and authoritative prosecution that these pictures and subjects are all connected by a thread It is Dyer s posture of the common thread I am in disagreement with Not every artist looks and studies the work of other artists There are times when an artist has no previous experience or knowledge of a subject already done famously and to no little renown It was easy to understand the complaints I read by others about Dyer s book not having chapters However if one looks hard enough and notices the small things Dyer has separated his book length essay into several segments by using italicized uotes taken from some of the photographers he has highlighted Dyer begins first with the subject of eyes and blindness using Paul Strand s famous photograph of the blind woman and then continuing on with his accustomed style for using common threads to connect his dots Hands become the next subject and if I remember correctly he uses Alfred Stieglitz s photographs of Georgia O Keeffe and then introduces Strand as either copying or following this Stieglitz lead with his images taken of the hands of his own wife Rebecca I had not seen any of these hand photographs before and when I first saw them here I was not moved by either Strand or Stieglitz I took photos of my wife s hands a few years ago and it just happened We did not have a plan Dyer continued in this segmental thread to the me that is seen and used several photographs of Diane Arbus Alfred Stieglitz Paul Strand and others taken by photographers other than themselves to make his point again of them all being of the common pictorial tradition or reciprocity Dyer also acknowledged the difficulty in taking photographs discreetly and it is obvious in some frames that onlookers look on the photographer with disdain and in others with utter surprise at the photographer s audacity I believe it was Strand who eventually devised and modified a camera with the lens mounted on the side so he could take photos without his subjects realizing the lens was actually aimed at them I especially enjoyed reading the uite long section on the decline of Alfred Stieglitz his leading an important role in the world of photography and his intimate relationship with Georgia O Keeffe Because of this deliciously detailed exposition of Dyer s I engaged myself in a further study of this intimate and artistic relationship In the meantime let me focus for a moment on the nude photos and sensual activities involved in the as Stieglitz recounts making love to between model and photographer Dyer obviously loves this subject and I was surprised he did not Coleccion de oro Jorge el curioso/A Treasury of Curious George (bilingual edition) (Spanish and English Edition) get a little creepy and flaunt some of his unseemly perversions here as he did so often in his yoga book Dyer did a segue into another longer piece on Edward Weston focusing on his lust and desires Not surprising at all to me was Dyer s main center of attraction being on pubic hair The next chapter was Dyer s photographic study on the back Whether it was a nude back or the back of a sheriff or a crowd of waiting backs with one person turned the wrong way Dyer again attempted to thread his way among them all and find the commonality between them and the photographic tradition Again it is my experience that little remembered are pictures that have been the work of copycats posed or set up and it is obviously not art when it is From here Dyer went into hats and again I find it preposterous that Dyer would find his common thread between all pictures with hats in them There is nothing remotely or consciously connected to photographic tradition or homage by anyone producing photographs that happen to have hats in themAnd then there were the stairs Any artist is aware of Swimming good form and certain shapes that say something Geometric angles matter as well as metals concrete sky and hash Not everyone attempts to take a photograph of a subject they have seen before For the most part I believe the subjects choose the photographer For whatever reason Dyer felt it important to then talk about beds and from that slightly strange subject he moved to benches With Dyer it is always the photographic tradition or homage in play with these subjects Photographers shoot many of the same subjects with different results Dyer attempts to show us examples but cannot really tell us why one fails and another succeeds as he uses already recognized as Lettrage créatif: Le petit manuel de la calligraphie great and acknowledged photos to demonstrate his points The object is for me anyway Administration Guide (AEPS: Assessment, Evalutaion, and Programming System, Vol. 1) great photographers know how to recognize and then compose a potentially The Gift of Therapy: An Open Letter to a New Generation of Therapists and Their Patients (Covers may vary) great photograph by using their own uniue point of view that all The PlantPure Kitchen: 130 Mouthwatering, Whole Food Recipes and Tips for a Plant-Based Life greatness has in common The short story writer Raymond Carver addressed this in one of his essays he wrote on writing According to Carver it helps for the artist to have a slightly different way of looking at things than the norm would have it Based on long personal experience and exhaustive study I couldn t agree with this Carver assessmentImpulse is critical to the artist in every media Several times throughout this book Dyer has referred to this photograph or that being a direct response to something done or seen before I do not think that this can be true in such OMD: The Simple, Plant-Based Program to Save Your Health, Save Your Waistline, and Save the Planet general terms For example Dyer shows us Strand s White Fence and offers a lengthy Strand uote explaining how he went about taking that photograph and why Strand said the fence looked so American and would not be found anywhere but there Strand explained as analogy his experience as well of peering out of a moving train s window while traveling through the Soviet Union and how he saw a fence set against the background of a dark woods and how Dostoevsky like it looked to him But Strand did not have his camera with him so he could not take the picture Both of these situations are obviously artistic impulses But Dyer follows these two examples by doing his own figuring putting his own two and two together to deduce that the Untitled white fence photographed by Michael Ormerod over sixty years later was a response and homage to Strand s work This type of deconstruction drives me out of my mind If Ormerod actually chose to respond to Strand and شہزادہ شہریار give homage to his work he would have said so That is not something you leave to a critic or scholar to deduce or decideJohn Cheever used this Ormerod picture as the cover of his Journals Dyer then Secrets of the Secret Place: Keys to Igniting Your Personal Time With God goes on to deduce that the picture of a damaged fence moved Cheever as a response to his own remarks in writing of his beliefs regarding marriages Barefoot Contessa, How Easy Is That?: Fabulous Recipes & Easy Tips gone wrong turn bad persist as and even after they fall apart That may be true and is proof that we all are moved differently and see things from our own point of view But neither fence moves me in any way Certainly the fences are not seen today by me as being American as Strand saw his or Ormerod s fence symbolizing to Cheever a destructive marriage in a world On-Camera Flash: Techniques for Digital Wedding and Portrait Photography gone wrong Frankly I think Dyer makes too much of Ormerod s fence At one point he says it is a commentary on Strand s picture He adds that it is also a contribution to that tradition And I say poppycock Too much is being said The fact that Cheever used it as the cover to his book Journals the fact that British art critic John Roberts deemed it Ormerod s own allegorical comment on the Vietnam Syndrome still does not in itself make it anything than it is a picture of a broken white fence that once protected a manicured lawn Why make of it It can simply be what it is an impulse manifested Next our Mr Dyer moved to the subject of taking photographs from a car or from the road This is one of my favorite activities and one that is never motivated by anything I had seen by Walker Evans Robert Frank or even Jack Kerouac for that matter The Kelt great Hungarian film director Bela Tarr has produced some brilliant moving images of fields and roads and I would be remiss if I did not admit to his aesthetic influence on me After my terrible and self destructive fall from the roof of my cabin in the spring of 2010 I enlisted the aid of my wife in making a film titled Biscuits and Striola a story about mortality based on the extent of my injuries while in the midst of my long and arduous recovery from them Not only did she take her clothes off for me in the making of my film but she drove the automobile from which I shot much of my moving picture I shot through the rain against cloudy skies all through the Midwest and up into northern Michigan There is a favorite segment of mine in the film where I shot through the bug smeared front windshield because I liked what I saw while passing through this small prairie farm town not because another photographer before me thought to do it first I also was not attempting to beat the other photographer or present my film as homage to his previous work Dyer persists in wrongly crediting Michael Ormerod with the brilliance behind the bug laden windshield images wherever they are Weighted Blankets, Vests, and Scarves: Simple Sewing Projects to Comfort and Calm Children, Teens, and Adults given Fast forward two years later to this last summer when I shot for a new as yet untitled film several minutes of my wife walking naked through the Huron National Forest This particular section of forest is some of the prettiest and most vertical vistas of oaks and pines that lend themselves well to a pretty and lithesome naked lady A year before this I again shot film from out of the passenger window for a seven minute film I made titled My Father s Kitchen My point here is that these places demand this photo taking activity whether it is done in film or stills This is not some copycat need to do something better or beyond or evolved than what has come before This is what artists do The copycat film or photograph is dead There is something present in any Seth parle (tome 1) (Les livres de Seth: L'éternelle validité de l'âme) great picture or film that must move the physical body enough that some critic or scholar can or wants to deconstruct or compare the picture moving or not to something else already Sculpture: A Basic Handbook for Students givenDyer s text continues on with the subjects of doors and Caine's Law graves and whatever meets his fancy in the vigorous prosecution for making his point Dyer seems to have this need to compare and discount enough that it becomes Paperback Oxford English Dictionary grating and worthy of my responding to it Why would true artists busy themselves with doing the same as everyone else Why would true artists huddle in the same corner as all the others in this pathetic herd of humanity They would not True artists are moved to work by their own impulses A photograph demands to be taken The poseur is usually found out and not ultimately forgiven but instead is resorted to staying hidden in some dusty shelf or worse even thrown into the bin of discards and ever piling debris Just as every word is available to the writer as was to Shakespeare does little to assure that something significant will come from them and on to the page as well as it did for William The same From the Source - Spain: Spains Most Authentic Recipes From the People That Know Them Best (Lonely Planet) goes for photographs Everything is available to all even those things that somebody else has seen first and already recorded That doesn t mean that another artist with the same or similar tastes will not see it too and choose to click the shutter And maybe luck or timing will win out There are most likely thousands of amateur photographs never seen by art critics and historians that would rank among our most moving and important But these Founding Mothers: The Women Who Raised Our Nation great pictures will remain hidden for the most part by unwitting heirs and the pictures perhaps privately admired for their uality and emotion eventually returned to storage boxes underneath the stairsThere is an aesthetic wonder and textural form in a brilliant photograph Most novices cannot see it even when staring directly into its face It is no different than what a true mason or true carpenter or true anything owns as personal experience It is willful and spontaneous the the true artist applies the physical body to the making of whatever is desired of its time It is the practice and failure Homo Zapiens given to the daily exercise of doing what one must in order to save oneself from the ever encroaching and constantly pressing world It is the understanding of the demands of one s heart It is following the impulse being directed by a force surrendered to in full and then abiding by its principles True art has little to do with copying or responding to what has already been The Easy Hymn Fake Book: Over 150 Hymns in the Key of C given The photographer s eye is what matters and Low Carb, Healthy Fat gives the work meaning It is hoped then that others notice it simply for what it is