Initial Thoughts
“Structures”
My initial thoughts on this topic is how broad it is, allowing a photographer to approach this topic in countless ways. However, my first impression of the theme “structure” derives from the different types of structures surrounding me— the modern buildings in the CBD district and the old hutong as well as the red walls in the center of the city. Personally, I enjoy taking photos of structures because they are easily accessible and can be viewed on a daily basis; we live in structures and we are highly dependent on them in our daily lives.
For the upcoming “structures” unit, I would like to focus on two different types of structures that are in Beijing: modern and old structures. I think it’s very interesting that the two can exist simultaneously together, creating a sophisticated, yet balanced scenery that shapes the Beijing we see today. For the modern structures, I would like to aim to take photos that emphasize more on the angles (high angles, low angles, dutch angles, wide angles, etc..) of the buildings. As for the old structures, I would like to work with shadows, either created from the buildings themselves or surrounding people that have walked passed.
Another idea I have is to take both these sets in minimalistic styles (close-ups, little/no surrounding background, no people or elements other than the building itself) to underline the essence of these buildings.
Researching the Starting Point
Many photographers and filmmakers have been inspired to record manufactured structures in various ways. Different approaches can be seen in the work of Paul Strand, who carefully considered composition, in the work of Lewis Baltz who observed deserted structures, in the constructed images of the urban landscape by Andreas Gursky, and in the recording of architectural facades by Markus Brunetti. Respond in your own way, making reference to appropriate work by others.
Paul Strand, Lewis Baltz, Andreas Gursky, and Markus Brunetti are all influential photographers who possess different, yet unique approaches to the theme of “structures.” Below are their photographs and an overview of their career:
Paul Strand, “Wall Street,” New York 1915
Paul Strand was an American photographer in the 20th century. He was born and raised in New York City and his works of art often surround the city, including the structures and the people. One influential change in his career life is when his style transitioned from one of soft-focus to sharply focused scenes that portray reality. Specifically, he aims to embody the topic of social injustice, especially in New York, in his works as he integrates the elements of both reality and abstraction. In this photo “Wall Street” taken in 1915, he depicts a scene in Manhattan’s Financial District, where workers are in the famous Wall Street and walking past the J.P. Morgan & Co. building. This photograph is one of his best-known photos and is memorable for its sharpness, color, and shape contrast between shapes created through buildings and the silhouettes of people.
Lewis Baltz, South Wall, Semicoa, 333 McCormick, Costa Mesa
Lewis Baltz was an American visual artist and photographer. He was an essential figure in the 1970s New Topographics movement, which rejected romanticism styles or traditional landscapes, focusing on contemporary art practices. He is also highly known for his monochrome photography which captures landscapes in suburban environments, such as industrial parks. In this photo taken in Costa Mesa, Baltz portrays the reflection of two subjects: the tree and ladder. Both components construct a dense shadow that is reflected upon the pure white wall, exemplifying the suburban environment.
Andreas Gursky, Paris, Montparnasse, 1993
Andreas Gursky is a German Photographer and a professor at the Kunstakademie Düsseldorf, Germany. He is widely known for his wide-format architectural landscape photographs, often using a high point of view to capture the full view of the subject. In this photo taken in Paris, in 1993, a large building is captured; the windows are symmetrical in shape, yet the difference in color in which sums constructs a cluttered atmosphere and a claustrophobic feeling that is reinforced by the substantial shot width of the photograph.
Roma, Basilica San Giovanni in Laterano, Italy, 2012
Markus Brunetti is a German photographer who is widely known for his photographs of European cathedrals, churches, monasteries, and synagogues. He often combines traditional photography compositions with compositional techniques similar to painting, which aligns with the aesthetic appeals portrayed in the paintings of Old Masters. In this photograph taken in Italy 2012, Brunetti captures every detail of the structure. The structure is also placed in the very center, creating a balanced composition that provokes the feeling of harmony and reinforces the sacredness of the old European structures.
These four series, although both surrounded by the central topic of “structure,” the four photographers all have their interpretations and apply them to their works in distinct ways. Although all four photographers use structures to create shapes, they all utilize the formation of shapes to imply opposite emotions. For example, first, the various big black rectangles provoke the first photographer’s feeling of harmony and stillness. On the contrary, the third photographer captures compact rectangles and squares to provoke a crowded, almost suffocating atmosphere through the dense and almost unending rows of rooms. Another difference is the shot sizes. The first two series are all close-up photographs focusing only on an emphasized part of the building, constructing a more minimalistic composition. However, the last two series are all wide shots that capture the whole structure, emphasizing its substantial size and the detail of the building. However, this highlight of the size also provokes different emotions in the audience. For the third picture, the width is exceedingly wide, capturing the windows’ high density and provoking a sense of vastness and a claustrophobic feeling. In comparison, for the fourth picture, the width emphasizes the grandeur of this classical structure. The intentional decision to capture the whole architecture also indicates the emotion of solemnity, especially for those who understand the rich historical context behind each structure taken by Brunetti.
Mind Map
Vision and Statement of Intent
For my photos, I would like to capture the essence and details of structures. The title of my project is “still.” I want my audience to feel a sense of stillness when viewing my photographs. To achieve my aim of capturing the essence of structures, I will work with clean, almost minimalistic compositions, which incorporate only the structure and maybe a bit of the surrounding environment.
Mind Board
Reflection
Through researching the starting point, I have learned that the term “structure” is a broad context that can be interpreted in countless ways. Some photographers focus on capturing modern buildings to portray modernization, while others capture old architecture to imply the rich historical context and significance of the past. Additionally, one important lesson I have learned and will apply to my photographs of structures is how important the composition and width of the shot are to the overall photograph. Different shots focusing on different/or whole parts of the structure can capture different subjects, conveying dissimilar messages and feelings to the audience. For example, photographers like Paul Strand and Lewis Baltz simply focus on one area of the structure, thereby also softening and incorporating other elements to add to the dynamics of the photo. On the contrary, photographers such as Andreas Gursky and Markus Brunetti take the whole structure, evoking different emotions, ranging from claustrophobia and solemnity to the audience.
