Комментарии - Bob Black

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Комментарии Bob Black (всего - 3111).

241. Две сестры две (Владимир Филипенко ) 15.02.2002 17:42

O!!! Это - очень красивая фотография, и это зажимы мое сердце, подобно рубашке, удаляемой медленно. Обе из этих фотографий этих женщин, сестер, напоминают о героическом, иногда печальном, правда родных братьев. Наши братья и сестры, в конце концов, предлагают защиту от голодного пожирания времени. Здесь эти две женщины перед этой черной волной времени. Подобно волку, время преследует их, и они стоят перед временем, дыхание волка времени на ее плечах. Этот черный бакроунд, просто устрашающий. Эти красивые хрупкие лица, чуткие глаза и мощные рты. Защита друг друга, при мольбах для нас. Мне напоминают об одной из моих любимых линий от "Кантос" Езры Поунд. Я не всегда люблю Фунт как Поэт. Я очень опечален и чувствующий отвращение его поведением как человек также. Однако, он, время от времени, выражал правду. Так, вот - линии, которые говорят со мной, когда я смотрю на эту красивую фотографию:

What thou lovest well remains, the rest is dross
What thou lovest well shall not be reft from thee
What thou lovest well is thy true heritage

:))! .......................

244. Мальчик с вербами (Inga Savosina ) 13.02.2002 01:37

Masterpiece, Inga, plain and simple...and although both of your competition photographs are great...this one is an astonishment...madness, simply the urgent heart-beat of a place...hold your head high my dear: where the other one was moody and beautiful, color dream film-noir, this one is simply your finger-point beauty...great, all the way around, and under too

245. Tatýana Tolstaya (Сергей Пономарев ) 11.02.2002 19:13

OI!!!!!!!! :))) my beloved, my beloved, my beloved Tolstaya....she feeds all us us, sleepwalkers in the fog!!! :))))) spasibo!

253. 1st date (Larry Korhnak ) 06.02.2002 21:24

!!!!!!!!!!!!!!!!!!!!!!!!!!!! :)) (wont spoil it with words, and the associations ;)) )...dreamy, and I think TRUE as well ;)))))))))) gorgeous

254. Под Прицелом 4 1/2. *Из Пушки на Луну*. (Michael Burlak ) 06.02.2002 17:29

!!!!!!!!!!!!!! perfect prick with easy pin-point drip ;)...gorgeous phallus of Texas, and the gorgeous geometry of man's thrust to build (that is: to fuck everything)...as architecture is really, mostly, about screwing....great shot Misha, great, great! :))

255. Predicament (Michael Burlak ) 06.02.2002 17:24

!!!!!!!!!!!!! oi....gorgeous, gorgeous Partner...love this photograph...aand love your work in monochrome, the shadows, the strange kitten, the Predicament ..use of the word like Nabokov, absolutely...your stained dream of geometry and ghosts...gorgeous photograph! :))

257. воздушный поцелуй (*** *** ) 06.02.2002 17:17

by the way, author not being Misha Burlak, Im laughing, because if they knew the author, scores would be higher: another example of absurdity of scores, shoot on Beauty Baby, shoot on ;))

258. воздушный поцелуй (*** *** ) 06.02.2002 17:15

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!....a female partner for my beloved Burlak....and i shall say you're a hell of a lot more sexier then Burlak (though I cherish him very much, and love his laughter, with long hair or short ;) ), most importantly, i know this author...cant hide behind *****....gorgeous Godardian dream photo....i love it very much!!

259. Следы (Вадим Ткачев ) 06.02.2002 17:11

!!!!!!!!!!!!!!!!! :))...your ghosts, again...love this infra-red series very much indeed :))

262. Паранойя (Mike Ershov ) 04.02.2002 19:56

stunning photograph....bone-penetration of the wilding heart, our broken selves...like a thin line of poison in my soul....great and heart-wrenching!

263. Из небытия (Виталий Цыпнятов ) 04.02.2002 18:34

!!!!!!!!!!!!!!! :))...gorgeous...the hunger of the solitary lives...even with cobaka :))..beautiful indeed :)

266. gipsy 0015.jpg (Андрей Хмелевский ) 04.02.2002 00:13

!!!!!!!!...I am now weak, and watery....glorious and sad...beautiful is not enought of word....ochen, ochen %$^%#@$#@$^%~~~~!!!! :))))

267. gipsy 0016.jpg (Андрей Хмелевский ) 04.02.2002 00:12

This entire gypsy series is more then beautiful...but soulful, poetic, and filled with the deepest melancholy....you deserve the richest congratulations!!! :)) ochen krasivaya

268. gipsy 0017.jpg (Андрей Хмелевский ) 04.02.2002 00:11

oi!!!!!!!!!!!!!!!!!...i love, love this series....please elevate this author, immediately!!!!!! :))) krasivayyyyyaaaaa

269. gipsy 0020.jpg (Андрей Хмелевский ) 04.02.2002 00:10

oi!!!!!!!!!.....fucking beautiful!!!!! :))))))

270. gipsy 0019.jpg (Андрей Хмелевский ) 04.02.2002 00:09

!!!!!!!!!!!!!!!!!!!!!!! :))

271. gipsy 0018.jpg (Андрей Хмелевский ) 04.02.2002 00:09

Я буду говорить равнина и просто: шедевр!:) Это напоминает мне об Иранском фильме " Время Пьяных Лошадей " ... лица, и противоречие между сосредоточенными лицами, и пятно времени справа заполнено красивой печалью. Необычайная фотография! :))

274. Больница (Михаил Геллер ) 02.02.2002 20:44

71: horoshow, maybe I did not understand the russian subtly enough, and missed the gist of your colliquium. Thank you for the link to the mortuary photography, which I had seen previously, and agree it is a powerful image as well, although the spiritual content of the images are quite different, and why superficially concerned with aspects of the body, lives, death, Im not sure theyre siblings at all. And I also concur that it is critical that photographers engage in dialogue (about all aspects) of their peripatetic lives, as should people. As for showing mearly the urinal, hand, cup, it appears to me this would be the more cowardly and inaccessible image. It's critical, one a person has decided to struggle at depicting truth, that it not turned into artifice. Revealing the man's face is inescapably complex and serious matter, considering the author chose to make the Devil's barder: to potentially besmirch this man's right to privacy and dignity: in a world, its autonomous and inalienable right to autonomy and privacy. This is a severe question the author must struggle with himself, and I believe it is not our, as viewers and colleques, role or responsibilty to inflict our moral imperatives upon the other. I return to the question of Giacomelli's work (in hospitals, nursing homes, slaughter houses), as well as the photographic canon of reportage. Recall the 1967 I believe, Pulitzer Prize winning photograph of the south vietnamese girl running along the village road, fleeing invisible flash from napalm, her arms akimbo, her mouth agape, a dying angel in front of this photographer: and he snapped the photograph, or the following years photograph, which precipitated the denouement toward the end of vietnam war, where the South Vietnamese general shot a Viet Cong in the head in front of the camers along the streets of Saigon...and of course any number of photographs from September 11th, just to recall recent instances. I understand your grave reservations, and respect them. I simply believe the question of authenticity and moral responsibility must be a dialogue author's impose upon themselves. Would I have chosen to take this photograph is not a relative question, because I am not Misha, nor is anyone else. I accept your quite legitimate questions, and merely ask that authors considered that the questions of moral responsibility are decidely muddy and cantilever around individual choices, dictions, experiences, etc. There is an author in this photograph, as Sasha S rightly points out: the photo is still artifice, the image, and it is a slippery situation. Since the Hyppocratic oath is above all, do not harm first, I trust this moral center bulleye's Misha's thought. In the shadow of that trust, my own as a viewer, I am willing to be graced by the difficult questions this photograph engenders. I apologize if my own diatribe early was reactive or aggressive or dismissive. I did not mean to cause offense. Divergent dialogues are masterbatory, inherently, enough, and its more difficult through comments rather then the organic exchange of words in person. I continue to remain in complete support of this very complicated and powerful photograph. Respectfully, Bob

275. Больница (Михаил Геллер ) 02.02.2002 01:39

Finally, forgive me, I am a blow-head, indeed ;). Michael Bondarenko. I kindly, respectfully ask you consider, in terms of your argumentation, the case of your beautiful photograph of the girl next to the face masks. One can argue, and many tried, that it was a sloppy and irresponsible photograph, because of its theatrical artifice and those very direct associations between the face-death masks and the child. Some thought you might have stagged it (which repulsed people because if this were the case, the theatrics involved the child), others found the photograph irresponsible because the child was shown, without her permission, in such a powerfully metaphoric position. Just as people attack the work of Sally Mann, and others, I defended your photograph because it is a beautiful, poetic, rich, haunting image. I was vociferous in my defense of not only your right to the image, but also its heroism and beauty, and it was infinitely more theatric (dishonest, in the sense of reality) then Gellers. But it was beautiful, and poetically and metaphorically more truthful then many photos that I have encountered on these internet sights. You should be proud of this photograph you made, and if anything, I am astonished that your ennumerated argument does not take into account the sphere of your own photographic and personal experience. I support Geller's profound photograph, and all the mirky, complicated questions associated with it, as well as I support your photograph. It appears as if you disagree with Geller's principle (fair enough belief) and then assault him for the very principles you yourself were attacked for. How easy it is to understand what is ethical behavior when our memories are so quickly diminshed. To wit: http://www.photoline.ru/cgi-bin/cr/photo.pl?ind=1002127895

276. Больница (Михаил Геллер ) 02.02.2002 01:19

Michael Bondarenko. I find your exegesis on moral responsibilty quite dubious. Accusing another person of moral dissolution (which is essential the arc of your argumentation) in fact an irresponsible act itself. The discussion of the responsibility of photographers, both toward private experiences and public experiences, is a rich and essential topic for discussion. The interesting tragectory of your argument is that you invoke the golden rule, essentially, about responsibility, and then refute it by assailing Geller's character as being morally bankrupt in the case of this photograph. You suggest that he was irresponsible at best, morally delinquent at worst, for taking this photograph. I do agree that photographers have moral responsibilities, not because they are photographers, but because they are human beings. The problem is that to ennumerate a nomenclature of moral hierarchy and impose it as a procedural process of thinking, is, frankly, as morally irresponsible as the the tennets of behavior you suggest to dislike. At some point, I agree, the photographer should gather as a framework the preservation of dignity for the person being photographed. And, it also, should be an essential question for the photographer as to whether or not the subject wishes not to be photographed. However, morality and ethics require a very specific and individually brave standard of self-reflection, otherwise morality is reduce to the ecumenical diatribes and numerical contingencies. When you can ellucidate to me the difference between a photograph of someone smiling and laughing who are unaware that the photographer has captured their private moment (such as your own work) and the person privately grieving who are unaware, fully explain to me the moral argumentation which separates both these events, I will subscribe to your calculations. At the heart of moral responsibility, it seems, for a photographer is the question of exploitation, because what we believe as private, is in the larger sense (and discussion of ethics should be framed in the context of thought, not laws) an epistemological and metaphysical question. It appears to me that if a photographer, thoughtfully, renders the experience of life, this is a moral act. The photograph may be tasteless, or repugnant, or irresponsile, but not necessary immoral, or unethical. Our human delusion is that our specific private selves are valuted over larger truths. Geller, I trust, made a decision as a doctor, as a photographer, and more importantly, as a human being, to record a moment of a man, with or without his knowledge, who was dying. The argument should then be: does it serve the diginity of both the man and human experience to have done this? The moment a person begins to differentiate between what is dignity and what is not dignity is the moment we are all lost to moral cowardice. Part of the photography is that it, again in all its petty vanity, is that it liberates the human condition by allowing for and representing empathy: it offers empathy, induces it in others who are so lacking in their nourishment. The indices of your argument would in the end vitiate all photography, because you cannot ethically, philosophically, morally, construct an argument of hypocrisy and apply it to Nichomachian thought. The disappointing aspect to your argumentation is that ethics should be discussed among photographers, just as ethics should be a primacy in the lives of everyone. The true moralist, as Augustine reminds mus, is not the person or flogs morality, but the one who embraces the sloppiness in us all. It is profoundly sad to me that you besmirch Geller, or any photographer for that matter (but by now we are use to this), under the rubric of intellectual discussion. May I gently suggest Cartier-Bresson's own words about responsibility, or better yet Plato, in Syposium, on the nature of the quality of "good" behavior.

277. Больница (Михаил Геллер ) 01.02.2002 20:24

Перед лицом правды (смерть, страдая), так или иначе, волшебно, нелепо мы, люди, выносим, и предлагаем сияние ..., теперь имеют значение, как эфемерный, что сияние, это все еще существует. Я оплачу(чту) эту фотографию, и более важно правда этого человека и этой жизни, захваченной внутри фотографии. Искусство, подобно жизни, является абсурдной игрой, и мы должны делать попытку к лучшей чести это также....sancta simplicitas...per angusta ad august...

278. Больница (Михаил Геллер ) 01.02.2002 20:20

Я вижу проблему, которую многочисленные авторы обсуждают вышеупомянутый, как фактически нахождение об идее кроме этой фотографии. Когда люди запрограммированы, чтобы ответить на фотографию в контексте назначения счета (5.0, 4.0, 3.0), они деформируют фундаментальный опыт рассмотрения фотографий. И потому что фотография показывает глубокую серьезность обстоятельств жизни, авторы - в недоумении как, как реагировать на такой конфликт между тем, что они видят и опыт эмоционально после смотрящий эту фотографию, и почти Павловиан ответ, чтобы щелкнуть оценкой ценности. Я, очень мягко, предложил бы, что фотография Мишы обеспечивает(предусматривает) нас всем примером в нелепости этой системы номера(числа), чтобы оценить качество. Фотография необычайна и красива, потому что, в конце концов, красота нашего ексистанс - конфронтация с иневитабилитес, ужасом, печалью, радость, будучи живым.

279. Больница (Михаил Геллер ) 01.02.2002 20:19

Миша: одно последнее(прошлое) слово, чтобы разъяснить мои мысли (Вы знаете мой печальный характер(природу);)). Я полагаю, фотографию нужно показать, фактически, нужно показаться, для обоих причины: как репортаж и как пример искусства фотографии (поддержанное почтение). Я не соглашаюсь, что фотография этого характера(природы) должна быть скрыта от соревнования. Искренне, я предоставил бы это золотой медалью (хотя я не верю в призы за искусство). Возможно компромисс тогда. Фотография, для пользы аргументов(споров), и из-за свойственного характера(природы) этой страницы Интернета фотолинии, должна рассмотреться для соревнования, только удалять множество. Из-за предмета и мощного эмоционального ответа это иллисиц (который является также данью к навыку фотографа), зрители, может находить ересью выигрывать это. Искренне, я не верю в ересь также, так что я не потревожен в мощном, унижая фотографию, являющуюся частью соревнования (факты жизни фотографа).

280. Больница (Михаил Геллер ) 01.02.2002 19:26

Миша::)) я только имею тот очень, очень маленькую жалобу. Nobless oblige ;). Эта фотография безупречна, и в терминах, журналистская правда, поэтическая правда, техническое достижение, артистическое суммирование и острота. Согласно тем критериям, и включая предмет, и его требование, чтобы превысить наши индивидуальные мелкие веры, мне жаль, что Вы разрешили фотографии быть данными числовую оценку. Это - 5.0, без сомнения, и из-за серьезности и красоты (печаль и правда) фотографии, это было бы совершенный пример почему назначение числового, матматикал оценка к искусству нелепость. Безотносительно дефицитов другие авторы видят (я не вижу никакие дефициты), просто несоответствующий власти(энергии) фотографии. Это немного кавиат говорил, ваша фотография замечательно! .....

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