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April--Deep South

April--Deep South PHOTO ESSAY ...................... by Phillip Goetzinger Before taking these photographs I had read an essay on how several decades ago the Atchafalaya and Mississippi rivers bent close enough to one another in Louisiana that they united. The Atchafalaya, being the lower of the two, took on the bulk of the flow, a distressing development for life on the Mississippi in lower Louisiana. The Army Corps of Engineers severed the union, but this amazing scenario--this land in flux--was the impetus for my journey south. I began photographing the area by thinking "landscapes" and how to render the vitality of the subjects I encountered--encounters that were to be brief, unfamiliar, and unexpected. For three and a half weeks I shot largeformat negatives sensitive to the quality of light. As my path through the Deep South unfolded, I felt that these photos should be more about reality than representation. These are real living places caught for a moment between changes. It only became apparent in printing that my approach often placed the camera and subject close to one another. The frame filled with what I focused on, and I can only suggest that this environment allows this sort of intimacy. As http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Southern Cultures University of North Carolina Press

April--Deep South

Goetzinger, Phillip.
Southern Cultures , Volume 9 (4) – Nov 13, 2003
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Publisher
University of North Carolina Press
Copyright
Copyright © 2003 Center for the Study of the American South.
ISSN
1534-1488
Publisher site
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Abstract

PHOTO ESSAY ...................... by Phillip Goetzinger Before taking these photographs I had read an essay on how several decades ago the Atchafalaya and Mississippi rivers bent close enough to one another in Louisiana that they united. The Atchafalaya, being the lower of the two, took on the bulk of the flow, a distressing development for life on the Mississippi in lower Louisiana. The Army Corps of Engineers severed the union, but this amazing scenario--this land in flux--was the impetus for my journey south. I began photographing the area by thinking "landscapes" and how to render the vitality of the subjects I encountered--encounters that were to be brief, unfamiliar, and unexpected. For three and a half weeks I shot largeformat negatives sensitive to the quality of light. As my path through the Deep South unfolded, I felt that these photos should be more about reality than representation. These are real living places caught for a moment between changes. It only became apparent in printing that my approach often placed the camera and subject close to one another. The frame filled with what I focused on, and I can only suggest that this environment allows this sort of intimacy. As

Journal

Southern Cultures – University of North Carolina Press

Published: Nov 13, 2003

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