De foto’s van Bertien van Manen, ik bekijk nu Archive, zijn geweldig casual. Dat klinkt denigrerend maar het is absoluut een kwaliteit. De beelden lijken zonder moeite te zijn gemaakt. Het is net als een boek. Het lijkt zo gemakkelijk gemaakt als het goed leesbaar is, maar juist die kwaliteit kenmerkt de meester(es).
Ik hou van die foto’s met tekortkomingen. Weg van de gladgestreken en opgepoetste beelden die momenteel in de mode zijn, zelfs onder straatfotografen.
Marieke Lucas Rijneveld. Ik had nog niet eerder iets gelezen van Marieke Lucas. Mijn eerste indruk was: wow wat een literaire krachtpatserij: een boek met ballen. Later lees ik over Marieke Lucas dat ze non-binair is en dan vind ik mijn gedachte erg flauw maar schrijf hem toch op omdat hij echt was.
Op Netflix vond mijn egaa de geweldige serie over de tweede wereldoorlog: Greatest Events of WWII in Colour. In colour betekent dat de zwart-wit beelden fantastisch goed zijn in gekleurd.
I Will Be Wolf – Bertien van Manen’s Debut Masterpiece
Published in 1975, I Will Be Wolf marks the remarkable debut of Dutch photographer Bertien van Manen. This photobook offers an intimate glimpse into everyday life through Van Manen’s distinctive lens.
A European Answer to The Americans
Van Manen’s work in I Will Be Wolf clearly shows the influence of Robert Frank’s iconic The Americans, yet it carves out its own unique territory. Where Frank’s vision was often critical and confrontational, Van Manen approaches her subjects with warmth and gentleness. Her photographs reveal a more compassionate eye, one that observes rather than judges.
The book exudes a wonderful freshness that remains striking nearly five decades later. Van Manen’s street photography demonstrates she had studied not only Robert Frank but also William Eggleston’s groundbreaking color work. Like Eggleston, she possesses a certain shyness in her approach to photography.
The Art of Subtle Observation
What makes I Will Be Wolf particularly compelling is Van Manen’s technique of maintaining distance. Many photographs capture people from behind, often taken from afar with views deliberately obstructed by poles, window frames, and architectural elements. This aesthetic choice creates layers of meaning – the viewer becomes a quiet observer, much like the photographer herself.
This restrained approach doesn’t diminish the power of the images. Instead, it adds an layer of intimacy and authenticity. Van Manen’s subjects inhabit their own worlds, unaware or unconcerned with the camera’s presence. The result is photography that feels genuine and unforced.
Why I Will Be Wolf Matters
For collectors and students of photobooks, I Will Be Wolf represents an essential piece of Dutch photography history. It showcases Van Manen’s early vision before she went on to create celebrated works like East Wind West Wind and A Hundred Summers, A Hundred Winters.
The book demonstrates that European street photography in the 1970s could be both influenced by American masters and distinctly its own. Van Manen found her voice early, and this debut remains as relevant and engaging today as when it first appeared.
Conclusion
I Will Be Wolf is a photobook that rewards careful attention, revealing more with each viewing. For anyone interested in documentary photography, Dutch photography, or the evolution of the photobook as an art form, Bertien van Manen’s debut is essential viewing.
