6x6 three

JANE WEINMANN

RPS Swiss CHapter eMagazine

EDITORIAL

Richard N Tucker ARPS

A criticism often leveled at our photographs is "lack of personal involvement". We may remember what we felt at the time but that is not always apparent to the viewer who does not share our experience. To build emotion and psychological closeness into an image which is seen and felt by the viewer, raises photography to a higher level. Such personal involvement can be there in any image from landscape to abstract, sports to portraits. There is a personal connection that is more than just recording with a camera.

6×6 Three is dark. Even in the slightly more conventional documentary pictures by Max Robinson one can feel his closeness to the people, especially in his relationship with the Han. By removing all the people from a crowded Venice, Rafael Rojas places himself in a strange personal world. The images become as much about the photographer as that which is photographed. By using scraps of earlier pictures Francesco Pennacchio makes them all about himself and his creation of a memory which does not exist. That search for one's self through photographs makes Jacqueline Alexander’s twilight no longer about what we can see in the picture. With an equally dark pallet Timo Lehto's story of loss forces the viewer to construct a personal reality from the sequence, though the psychological involvement of the photographer is very apparent. Jane Weinmann seeks, then forces us see the goblins and fairies that are part of her. But like the subjects of all these six, once seen, we cannot unsee them.