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Another Way of Telling: A New Theory of Photography by John Berger

By John Berger

“There are not any photos that are denied. All pictures have the prestige of truth. what's to be tested is in what approach images can and can't supply desiring to facts.” With those phrases, of our such a lot considerate and eloquent interrogators of the visible supply a novel meditation at the ambiguities of what's possible our common artwork form.
 
As developed by means of John Berger and the well known Swiss photographer Jean Mohr, that conception contains photographs in addition to phrases; not just research, yet anecdote and memoir. Another approach of Telling explores the strain among the photographer and the photographed, among the image and its audience, among the filmed second and the stories that it so resembles. Combining the ethical imaginative and prescient of the critic and the sensible engagement of the photographer, Berger and Moher have produced a piece that expands the frontiers of feedback first charged by means of Walter Benjamin, Roland Barthes, and Susan Sontag.

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For example, the appearance of the woman’s hands clasped over her stomach tells how she might peel potatoes, how one of her hands might lie when asleep, how she would put up her hair. The woman and the soldier are recognising one another. How close a parting is to a meeting!

WHAT DID I SEE? Was it a game, a test, an experiment? All three, and something else too: a photographer’s quest, the desire to know how the images he makes are seen, read, interpreted, perhaps rejected by others. In fact in face of any photo the spectator projects something of her or himself. The image is like a springboard. I often feel the need to explain my photos, to tell their story. Only occasionally is an image self-sufficient. This time I decided to allot the task of explanation to others.

What surprises me is how she hides the doll’s face. There’s a strong sense of identification between the doll and the child. The girl is playing out what is happening to the doll and what the doll feels. The vine in the background is strange . . Dance-teacher: She has everything, yet she doesn’t realise it, she is crying with her eyes shut. And the tree behind. The doll is as big as she is. Psychiatrist: It puzzles me. She’s crying as if she has a pain, and yet she’s well. She’s crying on behalf of her doll, and she covers the eyes as if there was a sight which shouldn’t be seen.

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