Image courtesy of Julius Shulman, ‘Pierre Koenig’s Case Study House No. 22’, 1960. // Shulman was part of a postwar generation of architecture photographers who’s speciality was Modernist buildings. He worked largely for magazines and architectural publications, using mainly black and white film. He had an ability to make the “hard glass and steel surfaces” appear “comfortable and inviting.” Geometric essentials were of paramount importance … Continue reading Julius Shulman.
Photograph courtesy of Michael Wesely, Chromogenic print, 2001-2003. Urban landscape photographs by Michael Wesely, ultra-long exposures. J. Continue reading Michael Wesely.
Photograph by Bernd & Hilla Becher // ‘Water Tower’, Dortmund-Grevel, Germany, 1965. // Continue reading ‘Dusseldorf Photography // Bernd & Hilla Becher and Beyond’.
Images courtesy of Know Your Place and Bristol Record Office. Ashton Avenue Swing Bridge was opened on the 3rd June 1906, with a slightly unusual appearance, being a double decker bridge with rail on the bottom and a road on top. Although work is currently underway to allow motor vehicles to cross the bridge, the original roadway was close in 1965. Before this, the bridge fell … Continue reading Ashton Avenue Swing Bridge, Historical Research.
Photograph by Lewis Baltz // ’21/21 The New Industrial Parks Near Irvine, California’. // Lewis Baltz is best known as one of the icons of ‘The New Topographic’ movement of the late seventies. His contribution consisted mainly of photographs of industrial warehouses in Southern California. He offered a critical perspective of urban and suburban life through bleak concrete walls and prefabricated buildings. His images resonate with … Continue reading Lewis Baltz.
Photograph by Lee Friedlander // Nebraska, 1999. One of my favourite American photographers has to be Lee Friedlander. His ability to so strongly reinforce the idea to the viewer that the photograph is JUST a two-dimensional object is remarkable. The way he consciously composes his images so it is purposefully busy, yet is readable and accessible to the viewer is something I find very inspiring. … Continue reading Lee Friedlander.
Photograph by Robert Adams // ‘Frame for a Tract House’ // Colorado Springs, Colorado, 1969. The body of work by American landscape photographer, Robert Adams which really caught my eye was ‘The New West’. Originally published in book form in 1974, the series, along with other New Topographics of the time, drastically changed the American perceptive on the landscape aesthetic, and therefore representation of the … Continue reading Robert Adams.
http://www.theguardian.com/artanddesign/2010/feb/08/new-topographics-photographs-american-landscapes Thirty-five years ago, William Jenkins curated an American landscape photography show called ‘Photographs of a Man-Altered Landscape’. It was then that he also coined the term ‘New Topographics’; a collective group of photographers with a dedication passion for representing the aesthetic of the banal. Although this movement is now widely accepted and mostly respected, at the time many people “vigorously hated [the] show.” Robert Adams, … Continue reading New Topographics.
http://www.bjp-online.com/2015/03/alec-soth-songbook/ “Photography is so static as a medium, the opposite of music” he says, “but that’s where the book form comes in – it allows for rhythmic patterns and passages. It’s taken a lot for me to open up to that and know how to feel it. It’s problematic, hard to articulate. How does a musician explain rhythm, like why they put the sounds together? … Continue reading ‘Songbook’ // Alec Soth.
Photograph by John Davies // Agecroft Power Station. // For my first semester at UWE, I have been allocated the medium and large format brief which lasts for 6 weeks. Although I have not previously experimented with these cameras, I am fully aware of their capabilities and am excited to get shooting tomorrow! I have decided to document most of my findings and research in a … Continue reading Landscape // A Sense of Place.