The element of transformation that is absent from the majority of the photographs in the album is the core or the notifying difference which transposes a photograph from the space of information to that of visual poetry and which thus gives it the right to claim just to claim a place in the field of art. Most and the best of Papadimos' photographs included in this album succeed in conveying information without exaggeration and with directness. Sometimes the photographer even manages to reach the highest limits of this type of photography. But as soon as its subject matter moves away from simple and clear information then it very often succumbs to stereotypes both in terms of content and form. That is when the information is more trivial and given such asa bucolic scene with sheep a chapel a fisherman a fisherman a church girl or a nice donkey then both the editor of the publication and the viewer fall into the trap of trying to lead the treatment of this particular photograph into more poetic paths with usually disappointing results. It is a fact that all these trivial and often folkloric subjects are rendered in a simple and straightforward manner and this is their virt.
ue but without the necessary transcendence that might have achieved a more e-commerce photo editing dynamic and personal stamp on the part of the photographer so that the trivial and a largely trivial fact of the real world was transformed into an important fact of a photographed world which is what is required in a good photograph which cannot be satisfied with the information it contains. Rather however the editors of the collection and publication out of love for the important work of his photographs in the way of selection and presentation. I do not know if Dimitris Papademos had such an artistic desire or goal or if on the contrary he honestly and straightforwardly limited himself to the most important role of recording and recording in order to better enjoy his own reality and to preserve our own memory combined of course with an efficient and honest livelihood as possible.
The kindness of his photographs and the straightness of his face make me lean towards this second version. I also do not know if the photographer was aware of the photographic work of the great artistic photographers of Europe and America as well as if and from which of them he had received photographic influences. But a comparison of the work of Papadimos with that of Voulas Papaioannou and Dimitris Charisiadis to stay within the circle of our own creators will show us the above differences. Papaioannou but also the much more professional Harisiadis in many of their photographs sought and succeeded in est that penetrates and surpasses the fact itself.
发表于 2022-10-30 06:44:53
