After about five years of modeling for Bob I know that a lot of my job was to show up, shut up
and do as Bob asked. That I did this is why Bob refers to me as his “potted plant.”
But even potted plants move in response to air currents and the direction of the light. And
so do I. Bob might be adjusting his camera, and I would take that opportunity to adjust my
body, the tilt of my head, the direction of my gaze, to something that I thought he would like.
Sometimes his response was “no, no, no,” and he’d tell me what he wanted, and other times
it was “yes, that’s it – hold it,” and he began shooting. This was my small way of being Bob’s
collaborator – a participant beyond the malleable model.
Photos my mother
wouldn't hang
"Photographs My Mother Wouldn't Hang" is arranged in matching pairs like the heroic couplets of Alexander Pope. Each Image is opposed by another, thus creating a conversational tennis match deepening in meaning with each ping of the photographers racquet. .
Vignettes
The long misused — and overused — word marvelous has in recent years fallen out of favor. It is nonetheless the best word to describe this volume of street photography by Robert Fischer. There is, as with his portrait work, an immediate impact that occurs as you encounter each photograph; the primary subject instantly draws your eye. But don’t move on quite yet. Linger, marvel, at what underlies that first impression. Regard the impeccable balance of shape, line and angle. Wonder at the contrasts of light, dark and color. Appreciate textures and sense of movement.
