something that caught a moment naked
and partially dissolved the lies we cloak it in
but no, the camera sees what the photographer does
Stieglitz’s history so differs from Brady’s
that one hardly dares call his camera a tool
but Fancher carries that untoolness a step beyond
hers somehow colludes with the subject’s self-perception
or with the subject’s possibility or self-creation
and captures the naked moment when the world
bends itself to fit a poet’s stepping into it
Fancher’s camera catches the poet and the poet’s vision
warping the world into the poet’s truth
without any of an historian’s bias
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