Faceless – salt print

Salt print, original from Carmelo Blásquez, employed like a learning tool
Salt print, original from Carmelo Blásquez, employed like a learning tool

Original image here.

There’s a great short article of Gonzalo Bénard called: Anonymous: defaced, unfaced, 2faced and overfaced, in it he talks about the very common “de-identification of one” in photography.

I differ a bit of Bénard appreciation about the possible origins of this practice, for me that process is directly linked with one of the basic frames in which photography was born: The industrial era, and with it, the speed of life and travel.

That velocity loved for the futurists have the effect of blur faces, landscapes and even relationships. Every day we see hundred of people in an small travel downtown, to the work or in a trip. But almost all the faces of those people are not more than shadows erased by the speed of our journeys.

We have become faceless people among streets full of faceless people. We can cope with all the visual input we receive and for that reason our brains have to decide what deserves a minimum of pregnance in our mind, the rest is blurred.

Thinking about the psychological consequences of that new reality I always end with the sensation that in some way we have been becoming small versions of Griffin and how H.G. Wells predicted the consequences of a world without faces.

This is another version of one of those images I took from the internet and try to use as an step in my learning process. You can see the other version here (gum print) and here (salt print – double exposure).

Is a salt print over watercolor paper, I don’t know why the black stain on the image, but was love at first sight and that force me to think once again about Gonzalo’s Essay.

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