I found the work of Tatif on the subject of homeless to be very interesting for the variety of individuals, and the originality of the pictures. Take notice he has not, for the most, made a simple picture from his standing position, and the results are accordingly. He seems to have done his most to deal with each individual, individually.
In general, and we all know it, is not that easy to generate drama where every one has already been. But to my opinion Tatif does it. The only other homeless pictures I have seen , of equal strength are those of a relatively new RFF member but vet photographer, whose name slips my memory know.
Now, respected yanidel, there are two main reasons why trying again and again to deal with this issue of homeless. The first one, to my humble opinion, is that by making out standing, extra ordinary images of the homeless, those of us with such ability may leave a trace in the mind of the audience. This is a lot of power, even if the audience is small.
The second reason is to avoid ourselves from being used to accept this fact as an umpossible fact to change. This is the essence of the concerned photographer, that he not only fights for a cause, but by doing so he also fights for the salvation of his own soul from the killing comformism, that our society feeds us with free of charge, and in the most varied tastes. This comformism is a venum killing our own creativity and freedom of choice.
Homeless people in the main city streets, like hunger, famine and massive death in Africa, are both issues that public opinion is fed up with to the core. Everyone knows it, everyone thinks it will not change, everyone doesn't want to hear about a single time again. Therefore the issue remains condemned as a low priority in the public opinion and governmental agenda. Once this was the situation with ecology.
It is precisely because this is the starting point, that finding the way to hearts of the audience becomes so hard a task, and it is here where the artist capacity for being original becomes crucial.
Cheers,
Ruben
