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Внимание! Книга на английском языке! It is the authenticity of the images which fascinates us rather than the reality that lies behind them. This reality seems rough and dangerous and all but worth emulating or aspiring to. The photographer covered thousands of miles by car in Australia and South Africa in order to capture a scenery of which he himself was part - a real adventure. He drove along the world's longest highways, encountered the world's longest road trains, i.e. the Australian road trains with up to four, sometimes five trailers measuring up to 70 metres in length. He could only guess at rather than know what would expect him on these busy routes and their truck stops. Photographers and hunters have many things in common. They roam their respective patches, prowl around their prospective objects and wait patiently until the moment they can shoot.
The figures in the images are "set free". This specialist term denotes an imaging technique which blanks out not only the background but also everything else that may come in the way between the view of the audience and the essence of the image. The double meaning of the term is not only applicable to the image itself, but also to the object - the men striking more or less simple poses are "free". On the road they are their own masters - all within the possibilities of their profession, of course. Similar to sailors or pilots, the trucker embodies the idealised image of the modem nomad who has managed to turn wanderlust into his job. The trucker is someone who knows his way round the complicated and dangerous world of the highway, the endless main and secondary thoroughfares, the hidden signs, drugstores and tank stops - a man who leads a life which equates the mobile delineation of both space and time - were it not for the fixed deadlines, his responsibility for the safety of the cargo, the relentless heat and dust, the fatigue. He is harassed, deprived of sleep, aggressive. Yet the photographer also discovered his sensitivity and vulnerability when the trucker is not behind the wheel in his fortress. Somebody just comes along and confronts him, talks to him, tells him to strike a pose and takes a photograph of him: turns him into an icon of his kind.