Vision of SET 2, Tokyo’s Night City Skyline

Overview of Photographers and Their Works

Lee FriedlanderNaoya HatakeyamaLisette Model, and Robert Gilden, uses reflections in their photography to explore themes like society, identity, and the environment. Lee Friedlander is well-known for his black-and-white photographs that include reflections in mirrors, windows, and glass. One of his notable images features a wing mirror reflecting a church sign, surrounded by trees and cars, creating layers of meaning in an everyday scene. Naoya Hatakeyama’s “Tokyo Series” examines urban landscapes and their relationship with nature, with one striking image showing a cityscape reflected in a puddle, blending natural and urban elements to highlight the impact of development on the environment. Lisette Model captured urban life through reflections in shop windows, such as her famous photograph of a woman behind a glass window surrounded by bustling city reflections, which explores themes of isolation and connection in New York City. Robert Gilden often includes self-portraits through reflective surfaces, like his image of himself reflected in a storefront window alongside the chaotic street life behind him, blending personal identity with public spaces.

Comparison of Works

The works of these photographers share similarities but also have unique qualities that set them apart. Lee Friedlander focuses on capturing everyday American life by using reflections in mirrors to create layered compositions, such as his wing mirror photograph that combines the church sign with its surroundings. Naoya Hatakeyama’s work contrasts urbanization with nature by using reflections in puddles or glass to show how cities distort natural elements, as seen in his Tokyo Series image of a cityscape reflected in water. Lisette Model’s photographs explore urban life and human isolation by capturing reflections through shop windows, like her image of a woman behind glass surrounded by street activity, which contrasts the subject’s stillness with the movement outside. Robert Gilden’s work is more personal, often including self-portraits through reflective surfaces to explore identity and presence within public spaces, such as his storefront reflection that merges his figure with the busy street scene. While all four artists use reflections to add depth to their compositions, Friedlander focuses on societal observations, Hatakeyama emphasizes environmental themes, Model highlights human connection and isolation, and Gilden explores self-reflection within urban environments.

 

Context and Influences

The context in which these photographers worked had a significant impact on their art. In terms of societal context, each artist reflects their unique environment: Friedlander captures American culture during the 1960s when street photography was gaining popularity; Hatakeyama responds to Japan’s rapid urbanization and its effects on nature; Model explores the vibrancy and complexity of New York City life; and Gilden examines modern identity within public spaces. Historically, these photographers worked during times when photography as an art form was evolving—Friedlander and Model were influenced by the rise of street photography, while Hatakeyama’s work reflects concerns about environmental changes tied to modernization. Biographically, their backgrounds shaped their perspectives: Friedlander’s American upbringing informed his focus on everyday life; Hatakeyama’s interest in science influenced his exploration of urban landscapes; Model’s European roots and move to New York shaped her view of city life; and Gilden’s personal experiences are reflected in his self-portraits. Psychologically, their emotional states are suggested through their work—Friedlander’s images often feel observational yet detached, Hatakeyama’s evoke concern for nature’s fragility amidst progress, Model’s reflect both connection and isolation in urban spaces, and Gilden’s self-reflective works suggest introspection within chaotic environments.

 

Theme: Tokyo’s Night City Skyline

Tokyo’s night city skyline is a captivating subject for photographers, offering a vibrant mix of lights, shapes, and reflections that create stunning images. To capture this beauty effectively, photographers can use several techniques that enhance their work. One key technique is long exposure, which allows for the creation of light trails from moving cars and the softening of city lights, giving the skyline a dreamy quality. By using a tripod and a small aperture, photographers can achieve clear and detailed images of the skyline while capturing the dynamic energy of the city at night. Additionally, finding the right vantage point is crucial; elevated locations such as rooftops or observation decks provide unobstructed views of the skyline, allowing for interesting foreground elements that add depth to the composition. The blue hour, just after sunset, is another important time to shoot, as it offers a magical balance between natural and artificial light, making the city glow against a deepening sky. Photographers can also experiment with different light sources, incorporating neon signs or streetlights to enhance the urban atmosphere. By combining these techniques with an understanding of Tokyo’s unique nighttime vibe—filled with bustling streets and bright advertisements—photographers can create powerful images that reflect both the beauty and complexity of this iconic cityscape. Overall, capturing Tokyo’s night skyline requires careful planning and creativity to convey its enchanting essence through photography.

Analysis of Lukasz Palka’s tokyo night photography:

Method of camera technique:

Long Exposure: While maintaining fixed objects clear, motion blur in automobiles and pedestrians was captured with a slow shutter speed. This approach emphasizes movement and energy.

Most likely employed to cover the whole scene, wide-angle lenses stress scale and depth.

Concepts and themes:

Urban Energy: The picture honors nighttime chaos and liveliness of a contemporary city.

Transience: In an always flowing city, the hazy figures and light streaks represent impermanence and ephemeral events.

Composition Strategies:

Rule of Thirds: Designed as a focal point, the crimson Kabukicho gate is situated close to the top-left junction of third. The bright trails balance the lower third.

From a rather low-angle point of view, the tall skyscrapers and neon signs are highlighted, so accentuating the metropolitan grandeur.

Movement: The long exposure technique captures the city’s continuous activity by means of blurred light streaks and ghostly figures, therefore generating a sensation of motion.

Application of Art Components:

Color: Bright, vibrant colors—especially reds, blues, and yellows—which inspire vitality and excitement predominate in the picture. Neon lights stand quite different from the darker tones of the shadows and night sky.

Dynamic lines are produced by the light trails from moving cars, which guide the observer’s attention over the work. The zebra crossing introduces ordered horizontal lines to counter the wild movement.

Texture: Neon lights’ smooth glow contrasted with buildings’ hard-edged construction and car reflecting surfaces.

Deep space is used in the image with layers of foreground (light trails and crossing), midground (vehicles and people), and background (buildings and signage).

Connection to my own vision:

Tokyo’s night city skyline is a captivating subject for photographers, offering a vibrant mix of lights, shapes, and reflections that create stunning images. To capture this beauty effectively, I can use several techniques that enhance their work. One key technique is long exposure, which allows for the creation of light trails from moving cars and the softening of city lights, giving the skyline a dreamy quality. By using a tripod and a small aperture, I can achieve clear and detailed images of the skyline while capturing the dynamic energy of the city at night, similar to Lukasz Palka work of style.

Best of Three:

Mirrored Fragments of Reality

Inspired by Lee Friedlander, I used the reflection of the pedestrian sitting down, reflected the ad’s glass to create a similar composition to Lee Friedlander’s “Reflections of the street”. I combined the reflection of “reality” with this black and green ad to make it seem like one.  This image explores the theme of loneliness and space, with the convenient angle where the person was positioned and the black background, emphasizing that feeling of space and emptiness. Furthermore, I intentionally use the Dutch angle to try to perfectly frame the entire image, centralizing the person and leaving negative space around her. I also turned the light down post-edit to make the black background stand out.

Inspired by Lisette Model, I used the fragments of glass on the wall which reflected the branches and leafs to create a similar composition to Lisette Model’s “Reflections, Window, Fifty-seventh Street, New York (1939-1945)”, where two “worlds” intertwine with one another to become one. I combined the reflection of “reality” with the white wall to make it seem like portals of fragments of reality. This image explores the concept of reality, with what seems to be a boring white wall with nothing interesting on it, but in close up, we could see glimpse “another world”, no longer boring or monotone. Furthermore, I used a slight Dutch angle, positioned on ground level to not only try to get the reflection right, but to close in on the wall of really get the lines of the wall as well in the image, creating an overall visually appealing composition.

Again inspired by Lisette Model, I used the rear view mirror of an fire truck which reflected the face of an black and white ad to create a similar composition to Lisette Model’s “Reflections, Window, Fifty-seventh Street, New York (1939-1945)”, where two “worlds” intertwine with one another to become one. I combined the reflection of one “world” with the black and white ad to make it seem like the person in the ad is looking at you. This image also explores the concept of reality, with the inside of a mundane fire trucks’ instrument panel, combined with the reflection of the ad behind, perfectly cut and framed by the steering wheel. Furthermore, I used framing, shot in an high angle shot,  to try to get the reflection of the face on the ad to get perfectly isolated by the steering wheel to make the face and eye of the ad stand out.

statement of intent

My project is about taking pictures of the 798 Art District in Beijing using reflections. I’ll focus on the buildings and show people without actually showing them. I want to make people feel curious and think about what they’re seeing.

I’m getting ideas from photographers like Naoya Hatakeyama, who takes pictures of reflections in water. I’ll use things like mirrors and windows to create cool reflections. The pictures will be in black and white to make them look artsy. I’ll also use blurry backgrounds to make the reflections stand out. I hope people will see the city in a new way and think about how we all fit into it.

Top 10 Photos, Reflection

Mirrored Fragments of Reality:

  • Dutch Angle
  • Depth of Field
  • Tone
  • Lines

  • Dutch angle
  • black and white contrast
  • depth of field of the use of focus

  • Position of the camera (Looking Up)
  • Black and White color/tone contrast
  • Depth of field and focus of the water droplets

  • Black and White color/tone contrast
  • Use of mirrors (reflection)
  • Positioning of the three people (pure luck)

  • Dutch angle
  • Black and White color/tone contrast
  • Use of mirror (reflection), making it look like the image just appeared into reality

  • Use of the convenient color contrast of dark blue and dark red
  • Use of mirror (reflection)
  • Bit Centered position of the mirror as the contrast in the image

  • Use of mirror (reflection), making it look like the person is reading the book
  • Positioning, making the book perfectly appear in that specific angle where both the person and the book is visible

  • The use of dark color contrast
  • Use of mirror (reflection)
  • Positioning, making the statue perfectly appear with the background

  • Dutch angle
  • Use of mirror (reflection)
  • The edited black and white background with the colorful center of the reflection
  • Mr. Dawson

Tenth Picture, Honorable mention

  • Use of mirror (reflection)
  • The reflection created an rather “interesting” sight, creating comedic effects

Initial Thoughts

When I think of reflection, I think of mirrors, symmetry, and balance. I enjoy using a 25mm lens Canon camera, for it can be applied when taking a wide shot or close-up. I might use a natural puddle after a slight shower, or any aquatic scene like a swimming pool or a fountain in 798.

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