By Oleg Tishkovets, Kiev
“I turned my coal-house into my dark room, and a glazed fowl house I had given to my children became my glass house! The hens were liberated, I hope and believe not eaten… all hands and hearts sympathised in my new labour, since the society of hens and chickens was soon changed for that of poets, prophets, painters and lovely maidens, who all in turn have immortalized the humble little farm erection.”
Julia Margaret Cameron
“Every image is in some way a “portrait,” not in the way that it would reproduce the traits of a person, but in that it pulls and draws (this is the semantic and etymological sense of the word), in that it extracts something, an intimacy, a force.”
Kertész had been constantly feeling alive through his work. Up until a few days before his death, he did not stop to photograph and to see his own world through his photographic lens.
Having reached the age of ninety, Kertész spent the last months of his life inside his home. His body was maybe giving up on him, but that did not make him quit photographing, even if his subject matter were the objects that were surrounding him inside the house. In fact, he created a new album, which he shared with photographer Susan May Tell. When she asked him what it was that made him go on photographing, Kertész replied:
“I am still hungry…”
By Stelios Ginalas. More here.