I'm talking about the diversion of our attention, which operates very quietly in the photographic frame, whenever our eye is caught by a bright spot.
This overexposure is saturation that does violence to the viewer (the story 250 is also captioned "violence of repetition, saturation, abundance") or, at least, embarrassment by his chiaroscuro. Yet the chiaroscuro is balance itself. The Story 28 "Eclipse" plays that balance of black and white (and, happily resolves the story of the young woman I go / I do not go out of the tunnel ), as well as photography's central tryptic by its incongruous contrast of color and texture, balance the entire assembly. The first photo of Story 42 "Pretext O" incorporates the themes of the tunnel, the presence of women and the blind spot, drawing our eye down this time. A woman waiting at the station, his eyes turned toward the spotlight, as she hesitated to leave the subway in "Eclipse" (the station, the subway, it is often the travel photography a fixed term).
I turn to " Clown (5) ", "Story of the photograph 45 on a computer screen." Two points need : First, the presence of the spot instead of head, presence obliterans, which wiped out by indiscriminate and excessive light. The common denominator of these stories would be to divert our attention from what is shown in favor of a light spot whose role is aesthetic (balancing composition). But the task also says: First, see what I watch, but also see what we can not see. Beyond the visible, there are intentionally diverted the visible, hidden by the excess. Occultation paradoxical as that ushered in the invisible part.
My second remark focus on the diptych of stories and 45 107. The process of re-injection of the same photograph, distracted by the bright spot, completely alters the composition, scope and reception. Change of venue (Machu Picchu, Peru-outdoor / Almagro, Buenos Aires-inside), palette of colors (from light to dark). Janus bifrons, cheerful clown sad clown and the "subject" fun photo: Machu Picchu, anyway! Well no, the little clown kitsch is equally the case, prism ostentatiously brandished derision between the lens and the "subject".
