Transitions by Max Pinckers (December 21, 2009) 
(12 votes, average: 3.00 out of 5)
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Categories / Conceptual Photography / Portraiture / / Click here to open comments section, click again when done to close / 1 Comment
Artur Eranosian - Introduction and Curator Statement
This week I am presenting you seven young talented photographers from Belgium. My country produced a significant number of internationally acclaimed photographers. This is the new generation. Apart from a blogger I am a photography student myself and the photographers presented here are my sources of inspiration.
I admire Max's ability to suprise me as a viewer. I had not thought that it would be possible to create such intriguing 'portraits' of people cycling along. It is a fascinating series, every single photograph has me guessing what the person involved is thinking about.
Next / Nothing Is Quite As It Seems / Previous / Experiencing A Moment Of Increased Awareness /
Our poll "A photo essay always needs a great written story" closed. 267 people voted, 28% agrees, 72% disagrees. 233 people answered our follow-up question "Are you a photographer?" 82% indicated they are, 18% said no. Initially, negative answers to question #1 were almost 100% as was the pecentage of photographers among respondants. Then, when the level of non-photographers started to rise, the percentage of people indicating good text is always essential started to rise too. This seems to indicate that non-photographers think that adding good text to your photo essays is essential. In my opinion: if you want non-photographers to dig your work, you know what to do...
I’ve always held a strong fascination for both the definition and interpretation of portraits.
Typically, portraits result from a large degree of cooperation between photographer and subject, ideally - though not necessarily -revealing a connection between the two. Both are involved in a balanced and unbiased relationship to create a desired outcome.
Many photographers and painters have explored the limits and possibilities of the two dimensional portrait, all contributing to what it has become today. The question still remains: are we able to capture a person’s character, thoughts or emotions in a single image?
With the series Transitions, I explore this idea by making an attempt to 'catch' people as they are dissociated from the encompassing world, deeply entranced in their own thoughts and absorbed in whatever is going through their mind.
The people in these images are cycling on a long and straight daily commuter route. When we cycle we’re disconnected from the world around us, we dream and ponder whilst mechanically riding along a familiar, somewhat mundane path.
Submerged into an 'absorptive mode,' people's expressions depict themselves in an honest way – unposed, unconcerned and unaware of either the photographer or the camera. The relation between the photographer and the subject has therefore been obscured, something which provokes us to ask ourselves if these really are portraits.
Transitions was my end of year work for my second bachelor year at the Academy of Fine Arts in Ghent.
Max Pinckers (1988) lives and works in Ghent/Brussels, Belgium.
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