Before i researched into my next project, i reshot my pastiche `On Signal Hill`.
ORIGINAL
As before we have been asked to submit a pastiche of an photographers image that we are presented with and a sequence of photographs, which are based on our own personal, conceptual approach to representing, 'Urban Space'. The pastiche again much imitate the photographic language of one of the photographs by combining research and visual elements. Basically we need to recreate on of the following images.
The thing I like most about Friedlander's photographs, is that he doesn't take that original structured approach that others would have - he breaks boundaries and explores new techniques. There is nothing in his images that allows the eyes to rest, there is always something new to look at. You find yourself constantly analysing new things in the image much like the photograph of New Mexico. He often worked with reflections and obstructions, poles and mirrors that broke the photograph up and gave it a different perspective.
Thomas Struth has captured scenes from several major cities and pays particular attention to human intervention and the technoligal progress in the landscape. He highlights construction sites and production lines, showing the rapid changes between old and new or seeing buildings right on top of each other.
Thomas Struth 'Bukseo Dong, Pyongyang North Korea 2007
Concerned with human destruction of the landscape of the American West, Robert Adams has for many decades used his camera to sadly document what he sees as the fallen state of a former Eden. For this particular project he quoted, “The operating principle that seems to work best is to go to the landscape that frightens you the most and take pictures until you’re not scared anymore.”
Doing my best to replicate this shot, I chose a location on the edge of a hill, in Rochester, overlooking Chatham. This allowed my view to be a popular area replacing a smog's-choked landscape or urban sprawl. Unfortunately I still struggled locating two trees, so instead found one, and appropriately angled my camera to proportion the sky, city and foreground as close to Adams photo as possible. The tree you notice is perched on the hillside, and the neglected tree is a poignant reminder of what was once naturally beautiful but now spoiled.
From my lighting reading I chose a low aperture of f5, but unfortunately after printing was unable to achieve everything in focus. The background was perfect in focus but the foreground was a tad blurry, not much detail was shown. Instated I should of choosing a high aperture of f32 to make sure I maintained focus as much as possible in the foreground and background, and exposed for the urban area at ½ a second to silhouette my foreground. I shot this photo at 08.00am in the morning hoping to replicate the fog hovering above los Angeles.
ORIGINAL
As before we have been asked to submit a pastiche of an photographers image that we are presented with and a sequence of photographs, which are based on our own personal, conceptual approach to representing, 'Urban Space'. The pastiche again much imitate the photographic language of one of the photographs by combining research and visual elements. Basically we need to recreate on of the following images.
The thing I like most about Friedlander's photographs, is that he doesn't take that original structured approach that others would have - he breaks boundaries and explores new techniques. There is nothing in his images that allows the eyes to rest, there is always something new to look at. You find yourself constantly analysing new things in the image much like the photograph of New Mexico. He often worked with reflections and obstructions, poles and mirrors that broke the photograph up and gave it a different perspective.
Lee Friedlander 'Albuquerque, New Mexico 1972
Thomas Struth has captured scenes from several major cities and pays particular attention to human intervention and the technoligal progress in the landscape. He highlights construction sites and production lines, showing the rapid changes between old and new or seeing buildings right on top of each other.
Thomas Struth 'Bukseo Dong, Pyongyang North Korea 2007
For my pastiche I am using Brassai`s “Paris after dark No.27” Brassai`s Visual style is similar to the film Noir Styling, capturing night time shots, and the man made lighting in order to create the idea of secrecy within the lights and shadows.
The shot is seen in an alleyway emphasizing the sparse quite night. Some neon signs and lights have been photographed, creating the lighting on the street, with two silhouetted blurred figures in the background. The shot appears mysterious, with the motion blur on the two silhouetted figures, seemingly male from the shape of their overcoats and fedora hats, we get a scene of preferably crime.
To find a street similar to this image will be difficult because unfortunately there are not many streets like this in England, our alleyways appear smaller and narrower, and our streets are generally wider, and with numerous street lamps, it could destroy the way the light falls in the shot.
When I begin my shoot I will probably use a wide angle lens to help frame my street. I will closely analyse the way in which the shadows fall, and the tonal and contrasts across the road. I'm hoping for a rainy night, as this will show the shiny surface similar to the original image. And will try my hardest to look for hotel sighs and neon lights, and a street that has a slight curve, to show its never ending effect.
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