A photograph can also be composed like a painting. The photographer chooses brushes and colors. She also selects the objects of the composition and establishes a relationship of sense between them. She captures aspects of reality that are generated in the instant before her eyes and highlights them by placing them along perspective lines, placing the camera so as to maximize the effectiveness of tones or colors contrasts.
La fotografia documenta il reale e preannuncia il possibile, rivela storie di vita e descrive visivamente mondi virtuali . Si pone come mezzo potente di indagine della sconvolgente scoperta che unisce lo spazio e il tempo in un’unica reale prospettiva.
The high definition accentuates the depth of the image, creates a space, invites to live in it. It is a way to create time. A way to simulate life.
Perhaps it is the difficulty of “seeing” ourselves in the future and perceiving a global significance from it, that leads us to try to inhabit a space which is typical of imagination.
We feel alive when we have a perspective, a progression, not only because we perceive time as the measure of change – although the new discoveries in physics project us well beyond – but because we link movement, variation and progression to perceiving ourselves, to existing.
It is as if defining reality would make it more real, dare I say it less deadly, more persistent; impress it in our self, preventing it from escaping.Noi viviamo là dove vi è prospettiva, progressione, non solo perché percepiamo il tempo come la misura del cambiamento, benché le nuove scoperte della fisica ci mandi molto oltre, ma perché leghiamo il movimento, la variazione e la progressione al percepirci e dunque all’esistere.
