With constantly metamorphizing material such as water, or clouds or ice, or light on cellophane and similar materials, the infinity of forms and shapes, reflections and colors suggest all sorts and manners of emotions and tactile encounters and intellectual speculations that are supported by and formed by the material but which maintain an independent identity from which the photographer can choose what he wishes to express.
The power of the equivalent, so far as the expressive-creative photographer is concerned, lies in the fact that he can convey and evoke feelings about things and situations and events which for some reason or other are not or can not be photographed.
This photograph of the cloud at one level is simply a record, but at another level it may function to arouse certain planned sensations and emotions. The factual side properly belongs to the photograph; the arousable implications are possible only when someone is looking at it sympathetically.
The mechanisms by which a photograph functions as an Equivalent in a viewer's psyche are the familiar ones which the psychologists call "projection" and "empathy."
Minor White. Equivalence: The Perennial Trend, 1963.
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Imagen: Minor White: Moon and wall incrustations, 1964. Para leer más: aquí, aquí y aquí.