This article contains nude photos that might be unpleasant to watch In the series of articles about photographers I like, I present one of the photographers I like very much, the wonderful photographer. The photographer Sally Mann was born in 1951 and lives to this day. There is not much information about her, and most of the information is about the many prizes she has received and about her exhibitions, which are still displayed all over the world. The American photographer was famous for her children's photographs, which at first glance seem disturbing because of the exposure of their bodies, including the nude, and she has caused waves over the years. I have to admit that the first time I saw these photographs, even during my art studies, her works bothered me, and her fame did not impress me much. Over the years, I understood the uniqueness of them, and here I will try to explain why I changed my mind over the years, and will relate to her other art series
Sally Mann was born in Virginia to a mother who worked in a university bookstore and a father who let her walk around freely and live "half-neglected," but without really being neglected. She lived more like a flower girl roaming freely, and Mann remembers her childhood as not having to live alone in the street.
In her childhood Mann was often photographed naked by her physicist father, who was also a photographer (on the personal level, this sounds troubling and problematic), which explains the place from which the nude photographs of children she herself deals with. Mann did not study photography in an orderly manner, but was greatly encouraged by her father to engage in photography. Sally Mann filmed and filmed mostly with a large format camera of 5 * 7 inches. (A dreamlike format for the work of many photographers, and much more than working with a medium-sized camera)
These works are not the first works of the beginning, but they are the works that brought her to the place she is in today. These are undoubtedly controversial works, although today, after it has made its place in the world of art, they are considered at least controversial, but I think there is certainly room for criticism, even if it involves photography of small children.
The photographs are her childhood photographs through these children. The children are portrayed innocently in their childhood. In fact, there is no blatant sexuality in these works. Eighties appear to be present in adults, who at a certain age naturally lose the innocence of childhood. The children are naked
In the most natural way in the world. They play in their natural surroundings without regard to their bodies. Their bodies are nothing more than a tool that allows them to move from place to place and express themselves. Just as transparent people play on trees without knowing the adult world around them. As soon as I started to see the children playing as children playing without the natural shock that every adult has, I understood the artistic side there. It also allowed me to see the technical beauty of the pictures. The dynamic range is used wisely and measured. The moment she chose to press the button, and the work is very difficult and precise with such a large camera. I am aware that I still have a small initial pinch when I see these photographs, but I soon see the beauty of the work.
First works and landscape photography
Early in her career, Sally Mann was involved in photographs of humans and landscapes. In the photographs of her people now, as she grew up and grown, you can see the first signs of sexuality, without the innocence you see in her children's photographs, and you see games with dynamic range in both landscape and image shots.
Notice the great dynamic range of landscape photography. It takes up all of the range, without fear of being grossly burned, which many landscape photographers are careful of, and there is a constant desire to reduce or avoid burning, even when it sometimes diminishes and spoils the beauty in a dynamic range. In her landscape photography she did two things that I love very much. The first is the beneficial use of the lens faults that she worked with.
The lenses she worked with are not the best lenses on the market, to say the least. But it takes out every bit of a flaw and turns them into the wonders of photography. Another thing that impresses me is that, unlike today, when a nature photographer has traveled around the world, she has remained around her. Which I think should be appreciated, because around the house, because we see the surroundings around us constantly, it is often difficult to see the beauty of our surroundings. There is a "childish innocence" in the ability to marvel after years of the beauty of the house closest to us, as we saw when we were children when everything seemed new and surprising.
Here I live
Throughout her career as a photographer, she has always documented the environment in which she lives, in her own way. It seems that among the different series she worked on, she always took pictures of her surroundings, and life in her place of residence. If it's the teenagers who look bored, and whether it's the families that always look, at least to me in my personal interpretation, as bored and yet so human. They all look real without any masks. As if the moment Sally comes with her camera, all the masks fall and people present themselves as they are without any shame or thought about what the people around them will say. They look so at home that they have nothing else to hide. On the one hand they look at the lens, and on the other hand they look and look at a person so loved and so close that you can also be on your worst day as you are without any inhibitions or traces.
Human body and human bodies
Her body photographs and body photographs are reminiscent of the photographs of the photographer Joel Peter Witkin, whom I very much like (and will write about later), both because of the reference to the human body and the approach she received to bodies murdered by the police.
Her nude photographs look very revealing and personal. The model she is taking is not simply visible to the lens, but actually takes out his most intimate stories. The most personal things are the same things that he will not tell anyone and he is willing to tell as openly as possible to Sally Mann, without any inhibitions, and allows the viewer to see the most human layers in it. The pictures are moving and touching, and the viewer remains exposed in front of himself.
Her body photographs do not see anything crude or crude, I would not even say repulsive, but human. Which is not easy to remove from corpses. The photographs allow us to see the nature of man in his last way, and also during his lifetime. The bodies in some cases seem to have gone to sleep and turned while sleeping on the ground, and came to strange positions, a little like everyone else. You see it mostly in children who can find themselves asleep in the most uncomfortable way in the world, and still sleep soundly. So were the bodies of Sally Mann, sleeping soundly. Restful. Even though in most cases these were people who seemed to have been murdered and abused before they died, she still managed to extract last moments of almost innocence from them.