An interesting sculptural piece that plays with Sol LeWitt concepts. Click on the images below to see them enlarged.
Once again, I’m struck by the architecture, the geometry, and the use (or absence) of colour in contemporary museums, almost more than by the photography I went to see.
Click on any of the images above to see them all bigger (if seeing this in email you may need to click on the post title above, first).
Here’s another image taken some months ago from my window with the longer zoom (see last post). This one was not converted to Acros in post; these are the colors out of the camera.
This is a full color image.
Almost 100 years ago, Alfred Stieglitz famously published a series of photographs called “Equivalents” of clouds. I never quite got them. Walker Evans said of them, “Oh my God. Clouds?” according to Dyer’s The Ongoing Moment. He describes them as not being meant to document the sky at the time Stieglitz photographed them but, rather, they were equivalents of Stieglitz’s interior state. Dyer contrasts this with Richard Misrach’s Non-Equivalents, which specifically do document the state of the sky. Many others have riffed on the Equivalents, including Vik Muniz. So, I’ve never quite gotten pictures of clouds. Then on a 5-mile walk, under a cloud-laden, leaden sky, I saw these skies like Bob Ross was showing you how to paint the sky with a big soft brush and I thought they were imminently photograph-able. You be the judge.
An interesting challenge in photographic composition. Which image is stronger? In the top image we have the nice diagonal line of the birds, leading us in, as well as the converging lanes drawing our eye to the nearer and more prominent shopping cart. In the bottom image the bird in front draws the eye more, we still have the converging lanes and a diagonal line of birds, dividing the image almost in half, and I think there’s a stronger sense of the emptiness of the parking lot. Your thoughts?
That’s all for now, folks!
An interesting arrangement of silver-white and black in color, tele-compressed at 200mm.