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richmond
You can see it if you look.
You can see the uniqueness of each picture, the differences from picture to picture: smiling, posing, prissing. A family. An ordinary family, with all the complications of being human. It is there, in the images, if you look closely enough—a forced smile, a blurred glare, some small gesture or expression that seems to exist between one moment and the next.
Emotions don’t change abruptly. There is a fade out and a fade in, a gradual movement from one feeling into another that is difficult to see but is nevertheless there. The camera sees it, and because the camera sees it, you can see it too. There are smears of color shifting across the image, alive with the whole of what is happening. Distortions and deformations of realities we have learned to filter out, to organize, to make coherent. The camera does not necessarily do this. It records the instability of the moment—the things that slip between what we think we see and what is actually there.
If you look, you can see it.
The camera is a child’s eye, before it calcifies, before the world teaches it what it is supposed to see.
If you just look, you can see it.
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