The indulgence and forbearance of all those who love a photographer must be unlimited before his works of lesser importance. As long as these look like attempts at necessary creative digressions and are examples of aesthetic daring and rotation. I didn’t have that feeling with Miners. On the contrary the small book with the CD which understandably went rather unnoticed contained some very remarkable photographs by Economopoulos with subjects unusual for the context of his overall work handled with simplicity and sensitivity. Maybe this deviation will bring him a lot in the future.
The contrary the small book with the CD which understandably e-commerce photo editing went rather unnoticed contained some very remarkable photographs by Economopoulos with subjects unusual for the context of his overall work handled with simplicity and sensitivity. Maybe this deviation will bring him a lot in the future. On the contrary the small book with the CD which understandably went rather unnoticed contained some very remarkable photographs by Economopoulos with subjects unusual for the context of his overall work handled with simplicity and sensitivity. Maybe this deviation will bring him a lot in the future.
Also not sure if the excessive and unwarranted grain of his photos especially evident in the Miners is due to the photos alone or to their reproductions. But above all I wish to declare categorically against a practice that not only Economopoulos but also many Magnum themes and aesthetics use. I am referring to the habit of their photos occupying the surface of one and a half pages so that the enlargement of the photo takes on the maximum possible dimensions in the development of the editorial living room. I suppose that in this way they want to give intensity to the photograph while all that is achieved is the breakdown of its unity.