“The Brand New Topographics” reportage, portrait, urban architecture, environment.
The new topographics was an exhibition staged in 1975 by William Jenkins containing a series of American landscapes from a variety of photographers depicting scenes described as banal.
Starting work on this project based on a research of this topic, my attention was focused on the photos of Eliot Erwitt. I like his style and ironic nature of his photographs, every day I’m dealing with similar situations in the street on the way to work or in the park, I never realized that they could become the subject of my photography.
My photos are taken on the basis of quotations of other artists in terms of the particular location
Yousuf Karsh 1
Photography is, to me, more than a means of expression, more than my particular prefession – it is a way of life. And if I were asked to choose one word which holds the key to my work I would select ‘light’ – for light is my language, and it is international, readily understood by any person of any race. It has been my good fortune to welcome before my camera many great men and woman who have made their mark on our generation and will find a place in history. I feel that my life’s work is to interpret th the best of my ability, the inner strength, the true character, of these personalities, through the medium of photographic portraiture. I can think of no elation equal to that when something close to my ideal is achieved, through necessarily there must always be a spark of what I call ‘divine discontent’ – the constant striving for near-perfection. In this self-appointed task, which also carries, I believe, a great sense of responsibility, the medium of light is all important. It is the portraitist’s chief tool, and he can never learn enough about it.
When I went to the location, the quote came straight to my head. The first part of the quote is very important because it says about light. How to acknowledge and control the light in photography is very important for me because I have learned from my own mistakes in the past how to use light well in images.
Eliot Erwitt 2
I wasn’t imposing my presence on anyone,..which is very important for a would- be journalist I stayed back. Always let people be themselves.
I stood for a while in this location, and didn’t hide my camera. I let the people become familiar with me and the camera. I wanted the people to act naturally and be themselves. I chose this man as my main model because he was very natural and he did try to catch eye contact with me.
Minor Brandt 3
Let the subject generate its own photographs. Become camera.
I just let these images be simple and I trusted my camera with the subject matter. I also reflected the quote, regarding the style of Brandt.
Paul Caponigro 4
“It’s one thing to make a picture of what a person looks like, it’s another thing to make a portrait of who they are
I asked this lady to pose for me and did not tell her how to pose or what to do. I wanted her to be herself withough direction from me. She poses in a formal, confident but stiff way like she is having a passport photograph taken. I chose this background because I wanted her to stand out.
Philippe Halsman. 5
The immortal photographers will be straightforward photographers, those who do not rely on tricks or special techniques.
Usually I would convert this picture for HDR image to bring out all the structures. But to compare this to the quote, I left the image in its original state.
Robert Capa 6
If your picture aren’t good enough youre not close enough
Robert Capa took images really close up to the action. I was not confident enough to go close to the police and teenagers to show the drama of the subject. In the same location I took the second picture to show how close I should be.
Jan Groover 7
You have to follow your nose… to have a mental attitude about what you feel good about and yearn for in a picture. Being able to say ” I like it. ‘ or ” I don’t like it.’ That’s first. – Jan Groover.
I combined these images to show that I like portrait photography but I dont like smoking. I wanted to show as well the ironic side of this picture because the man is smoking beside a no-smoking sign.
go straight in very close to people and I do that because it’s the only way you can get the picture. You go right up to them. Even now, I don’t find it easy. I don’t announce it. I pretend to be focusing elsewhere. If you take someone’s photograph it is very difficult not to look at them just after. But it’s the one thing that gives the game away. I don’t try and hide what I’m doing – that would be folly. – Martin Parr – British Journal of Photography interview, 1989
I chose this person as a main model for my pictures because he is not paying attention to me. He was very cheerful and happy doing his work with a smile on his face. he was chatting with people passing by. I wanted to show how the person is, his attitude and behaviour, in the image.
Think photographs should be provocative and not tell you what you already know. It takes no great powers or magic to reproduce somebody’s face in a photograph. The magic is in seeing people in new ways.
I was intrigued to find these chairs dumped and wondered why they were there in such an unexpected environment. I also found quite ironic that one chair was left on the road with the ‘keep clear’ sign. I see these chairs in a new way, as an art combination rather than just rubbish.
I have been frequently accused of deliberately twisting subject matter to my point of view. Above all, I know that life for a photographer cannot be a matter of indifference. Opinion often consists of a kind of criticism. But criticism can come out of love. It is important to see what is invisible to others. Perhaps the look of hope or the look of sadness. Also, it is always the instantaneous reaction to oneself that produces a photograph.
All the peolpe are sitting in a similar way, looking in the same direction, as if they are in hope. We do not know what they are thinking about – catching the bus or something else. I picked this image because there is a crowd of people.