Suddenly, something happened on the streets of Bern worth seeing, a well-known photographer in action. Actually two.
When a photographer focuses the camera on another photographer, what remains hidden behind the camera becomes visible and what a good photo can require from a true professional photographer. This has rarely been made clearer than in Eugene Thierstein’s report on fellow professional Martin Hesse, Son of the famous writer Hermann Hessein Bern since 1942. When a photographer catches a photographer taking pictures, a bit of sarcasm naturally resonates.
This is where photography becomes exciting, risky and adventurous. It is a sophisticated technical construction and becomes a kind of art in itself, as an installation, theatre, performance, spectacle, display or even stunt. It remains a work of modesty, professionalism and fundamentally honest craftsmanship.
Incidentally, Eugene Thierstein’s efforts are slightly inferior to those of Martin Hesse. You can feel the respect one photographer has for what another is doing, but you can also feel the contradictions. Hesse takes still photos with a giant camera from bygone eras and it takes a lot of time gSince then, Thirstin has been constantly on the move, roaming around his colleagues with a much smaller moving camera. Each photo has a different perspective.
Thirstein has created a little photographic song here, a wonderful, richly imaged account of the fate of those who devote themselves entirely to photography and do not remain mere spectators. The scale, up and down, back and forth give it something like rhyme and rhythm. The children look like little black question marks about the events they are witnessing and cannot believe that it is February 28, 1942 in the gray streets of Bern.