In general, the reactions of the subjects photographed,if there are reactions, occur after “the shot. In this photo instead is the reaction itself to be immortalized, is the reaction of the player, his eyes wild, it is the hint of violence to be the “theme” of the photo. Chess and the game that was playing become secondary elements. Bravo the photographer to capture the perfect moment of anger … and keep the camera integrates immediately!.( rewiew by Carlo Traina)
Invisible Man is the title of the photo, but it could be well “Freedom.” Freedom is the writing on the shop in the background that contrast (sharp and in focus) with the “moved” of the man who goes by fast cycling. Freedom many times in this chaotic world, it means “disappear”, it means “not to be seen”, it means cycling, ignoring the slavery of a car. From the technical point of view the picture “plays” a lot on the geometry of the lines (the pedestrian crossing, the rectangles of the shops and the insignia) and “chromatic minimalism.” The low light of the whole picture is interrupted only by the glow on “Liberté”, and it is there that it is brought to the viewer’s eye, stimulating the association, in fact, between “Freedom” and Invisible Man. (rewiew by Carlo Traina)
Who knows what is intrigued by the “Child with guitar”? The cut of the photo does not allow us to understand, and this “mystery” is one of the things that make the photo interesting and enjoyable. Perfect choice of the frame from the bottom, with the wide angle that puts strong emphasis on child and guitar. It ‘s just guitar to emphasize the peculiarity of the situation: how many children we see a lot of photos flying around the ball? Here, however, looking at the picture, we realize that there are also small Jimi Hendrix. Wonderful expression captured the seriousness of the child: if the guitar is not a toy, one would believe that he is going to perform for a concert. (review by Carlo Traina )
Blink of an eye, and in a subway, calm and sleepy takes shape the performance of a boy who goes to twirl on the pole place in the middle of the wagon. In this photo there is the whole philosophy of Street Photography: fix everyday moments, freeze in a single image the representation of a street or a place, a situation. The dynamism of the boy is definitely the “center of the picture” and immediately attracts the viewer’s attention, but are complementary, and equally important, the other subway passengers: immersed in their own thoughts, disinterested spectators of the evolution of the boy. Advertising in sight (666 Park Avenue) also tells us that we are probably in New York, but perhaps – in the era of the globalized world – this is irrelevant, since the strength of the photo is in his universality. Similar scenes, in fact, can occur in many subways in the world, the important thing for a good photographer, is to be ready to cacth them! (review by Carlo Traina )
Basterebbe la “scritta” a dare un senso alla foto, a definirne il messaggio, ed invece sono diversi gli elementi che completano la denuncia e la rafforzano. Prima di tutto, naturalmente, c’è il passare distratto e veloce del ragazzo di colore, probabilmente uno tra quelli che quotidianamente affronta il problema della fame e della sopravvivenza. L’associazione tra “il problema” e chi lo subisce è inevitabile e immediata. E poi c’è la sovrapposizione delle scritte sul muro, le cancellazioni evidenti di altre precedenti denunce. Segno di proteste successive, di una società che non migliora mai e contro la quale si è “costretti” continuamente e protestare, rinnovando quindi scritte su scritte. Infine il taglio della foto, con l’evidente sproporzione tra il muro vuoto e la parte occupata dalle frasi, dal passante e dal manifesto strappato. C’è sicuramente un disagio istintivo nel primo approccio visivo alla foto così strutturata, ma successivamente ci si rende conto che è proprio questa sproporzione a fare apparire piccolo (e quindi “fragile”) il ragazzo di colore che passa. Recensione a cura di Carlo Traina.
