CHAPTER ONE: ‘SHOOTING SPACE’
1.1. Origins and evolution of Architectural photography
Throughout the history of photography, architecture has always been one of the significantly valued subjects that could be photographed. Before the invention of photographic technique, buildings were represented by artists in their paintings, and images of buildings could be easily found in different styles of paintings.
The very first photographic image called "Boulevard du Temple" was taken by Nicéphore Niépce, and later made by Louis Daguerre. It could be considered as architectural photography.
Around 1860s, architectural photography has gradually turned into wider ranging type of photography in the visual mediums. During mid 1920s, it appeared …show more content…
As is it mentioned in Leslie Mullen’s study of ‘photography and prospection’, a photographic image could be considered as analogous, continuous or representation of a space within infinite spatial or tonal variations.
Photographer Edward Weston (1939) believed that the camera sees more then the human eyes, there are two major advantages of analogous characteristics of photography which makes it different to hand crafted works: Firstly, the astonishing precision of definition, particularly the in documenting of fine details; the other one is, the unbroken sequence of extremely subtle gradation from highlight to shadow in a photographic image. The two unique traits constitute the ‘watermark’ of the photographic works, which pertain to the development/process mechanically, and could not be duplicated by hand crafted art …show more content…
Double exposures of his body show it sitting up, standing and walking toward the camera until, in the last of the seven photos, it fills the frame. “Death Comes to the Old Lady” (1969) shows a seated woman in a middle-class house staring at the camera. In the next two photos, a man in a dark suit appears by her side. He is first seen as a blur. He then dissolves into a black shadow except for his hand is still in focus, which he places on her shoulder. In the last photo, she rises from her chair and becomes a dark shadow herself. These are the two examples of Duane’s works of using double exposure and long exposure to create the time-based
1.1. Origins and evolution of Architectural photography
Throughout the history of photography, architecture has always been one of the significantly valued subjects that could be photographed. Before the invention of photographic technique, buildings were represented by artists in their paintings, and images of buildings could be easily found in different styles of paintings.
The very first photographic image called "Boulevard du Temple" was taken by Nicéphore Niépce, and later made by Louis Daguerre. It could be considered as architectural photography.
Around 1860s, architectural photography has gradually turned into wider ranging type of photography in the visual mediums. During mid 1920s, it appeared …show more content…
As is it mentioned in Leslie Mullen’s study of ‘photography and prospection’, a photographic image could be considered as analogous, continuous or representation of a space within infinite spatial or tonal variations.
Photographer Edward Weston (1939) believed that the camera sees more then the human eyes, there are two major advantages of analogous characteristics of photography which makes it different to hand crafted works: Firstly, the astonishing precision of definition, particularly the in documenting of fine details; the other one is, the unbroken sequence of extremely subtle gradation from highlight to shadow in a photographic image. The two unique traits constitute the ‘watermark’ of the photographic works, which pertain to the development/process mechanically, and could not be duplicated by hand crafted art …show more content…
Double exposures of his body show it sitting up, standing and walking toward the camera until, in the last of the seven photos, it fills the frame. “Death Comes to the Old Lady” (1969) shows a seated woman in a middle-class house staring at the camera. In the next two photos, a man in a dark suit appears by her side. He is first seen as a blur. He then dissolves into a black shadow except for his hand is still in focus, which he places on her shoulder. In the last photo, she rises from her chair and becomes a dark shadow herself. These are the two examples of Duane’s works of using double exposure and long exposure to create the time-based