The Photographic Circle was born from the initiative of a teacher myself and the cooperation of students who had as a common basis my teaching. It is therefore selfevident that this base is all these years since the foundation of our association the connecting link of the members and their photos. Over the years this teaching adopted some minor changes in direction which however did not alter its essence. The photography produced today by the members of the Circle has in the overwhelming majority some common characteristics but on the one hand it is not the same for all member photographers and on the other hand it is not possible to limit it to a specific framework of technique. In fact it is easier to be defined through what it tries to avoid than through what it pursues.
The formation of these characteristics is not only due to my original e-commerce photo editing teaching but also to the criteria developed and applied with several variations by the various members who judge each other's photographs. The criteria and criticism are in fact the main reason why many choose to remove themselves from the Circle. That is if someone finds that the criticism he receives for his photos from me or other members to whom he shows them does not help him in his creative production because it moves in a completely different direction it is expected that he chooses to leave. After all egoism is an and armor. The photography done in the Circle generally disdains the word is strong but almost necessary when trying to shake off the imposition of dominant trends conceptual conveniences.
Since I started my photography and even more so my teaching I have made my opposition to conceptualism a kind of crusade. Perhaps because I immediately understood how destructive is especially for photography a tendency that unfortunately lends itself to photographic ease and that emphasizes the superficial elements of a new art which on the contrary had and needs an even greater tested and forged through centuries of creation. My second disclaimer concerns editorial photos and by that I mean the ones that usually grace the pages of magazines. My rejection of this is based on the same logic as the rejection of conceptualization. Elevating all kinds of commercial or applied photography into eponymous art constitutes a concept in itself which either exploits its formalistic decorative elements.
发表于 2022-10-23 06:44:59
