Fugitive Moment

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One Web page devoted to the Diana affectionately calls it "the crappiest camera ever manufactured. So why would anyone bother?

You have successfully signed up for your selected newsletter s - please keep an eye on your mailbox, we're movin' in! For an answer to that question, look at these photographs. They're of a world as seen through gossamer. Delicately distorted, like memories or dreams, they soften even more at the edges. In most, the colors are rich, dark and dense; where brightness prevails, the sunniness has the surreal aspect of a fevered hallucination.

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And Duncan stands in a flat landscape that suggests a barrier island, looking down at something, in light so bright it makes you sweat. The sensation of heat is intensified by the shadow his face and sunglasses cast on his white-hot shirtfront. But the fluid feeling of these photographs isn't due simply to the distortion of the image and the sense of motion that usually conveys.

These mementos are memento mori, meditations on fragility and impermanence, on mutability and mortality. They are pregnant with an acute awareness of time and its passage. Debby is heading for the door, an ornate door that opens from a dim interior onto a sunny, unseen exterior.

Maria passes between us and a stone wall, through which an arched tunnel leads somewhere; a strange red triangle of light suggests an exit sign. Even the less dramatic pictures have a sense of otherness, of distance, as though they were not exactly of this world. These are nostalgic photographs -- not a sentimental nostalgia for an idealized place or time but a nostalgia for the present, a yearning born of an awareness of the moments that pass with every breath, a longing bred by the unbridgeable distances between people, a comprehension of the loneliness that lies at the heart of intimacy.

Doug gazes at us straightforwardly, yet there's a slightly guarded look in his eyes.

In Ellen , little shields of light cover her pupils, keeping us at arm's length. And an older gentleman, Jim , his eyes almost obscured by the glare on his glasses, greets us from a dark corner with an expression of quizzical apprehension. Of course, trying to freeze time is a fool's errand. Mommy and Daddy's incessant shutterbugging around their toddler is more a documentary of development than an attempt to arrest it. Amy Blakemore's photographs are hauntingly eloquent in their documentation of the fugitive moment, when time passes through the present to become the past.

H C B speaks in relation to portrait-photography of looking for the silence in the person. I guess he was looking for the silence behind everything.

@johnwhalenphoto

This silence was most likely what he was attentive to. What I am saying is — H C B could not have captured these decisive moments without having experienced the silence within him.

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From this timeless state we glimpse the joie de vivre with its awesome sense of wonder generated and re-generated from eternity that makes life worthwhile and meaningful. Why Black and White and not Colour? In colour film emulsion was not well developed.

H C B said then: I remember when colour TV was first introduced, I intensely disliked the busy business cramped into a small frame. Colour can however be used as a language , and I am certain H C B would have cottoned on to this had he lived on.

I am wishing all my readers and visitors a wonderful creative New Year …. Enter your email address to subscribe to this blog and receive notifications of new posts by email. Enter your email address to subscribe to Course of Mirrors and receive notifications of new posts by email.