Introduction
For this project it was required that we take a series of three photos using our own brief on the city environment. We were also given one pastiche image from another photographer to reproduce as our own.
Pastiche
For my first task I had to choose one of three pastiche images to produce my own version of. Of the three given I chose Paris After Dark, No. 27 by Brassai taken in 1933.
Brassai was a Hungarian photographer born in 1899. In 1924 he moved to Paris and became a journalist. He published his first book in 1933 called "Paris de nuit", which made him famous worldwide.
Most of Brassai’s work seems to be taken at night using naturally occurring light to provide illumination to his images.
Paris After Dark No. 27 enters the viewer into a narrow alley in what appears to be late evening or night and it also becomes apparent from the reflections on the cobbled pavements that it has been raining. The shadows at the far end, scarcely illuminated by the hotel sign give the piece a very mysterious feel, it is not immediately apparent as to what is at the end of the alley. The large depth of field gives the feel that you are actually in the photograph rather than just on the outside looking at it.
For my attempt at the pastiche I travelled to Maidstone, which is quite local to me, at midnight on the 30th of November so as to hopefully get the perfect settings for my photo.
4 layers of clothing, one scarf, one hat, a pair of gloves and 2 minutes out the front door of my boyfriend’s house later I realised what a long cold night I had ahead of me. Armed with a Mamiya RZ, numerous rolls of film and a notepad my boyfriend and I travelled to Maidstone trying to find the most deserted places possible so as to be able to take the photos without disruption. It was tough finding streets that were suitably lit but at the same time suitably dark to match Brassai’s image. The specifications below are for the shots I took in Maidstone:
1. 8 seconds, f. 4.0 and 3 tenths
2. 8 seconds, f. 11 and 5 tenths
3. 8 seconds, f. 4.0 and 3 tenths
4. 15 seconds, f. 4.0
5. 15 seconds, f. 4.0
6. 60 seconds, f. 22 and 9 tenths
7. 30 seconds, f. 5.6
Below are the negatives and contact sheet from my expedition:
Initially I was happy with the outcome as this was the first time I had shot with no daylight present. However I would also like the chance to take the images again and try and fit them even more to the original pastiche.
Initial Ideas
One of the first ideas I wanted to pursue was one on the style of the artist Rut Blees Luxemburg as I had previously researched her work and found it both intriguing and interesting. I had some good ideas of places to take photos in her style but the only problem was getting to these places at a similar time of day to that of Luxemburg.
Another idea I came up with was one that used Alexey Titarenko’s City of Shadows series of work as inspiration. I preferred this idea to the former however I still would have liked to try both ideas.
Final Idea
I finally decided to pursue the idea based in TItarenko’s series. I started to think of places that would provide enough people for me to take a photo of in motion. One of the best places I could think of was Canterbury. So I began to start my research so as to get a better idea of Titarenko’s work.
Research
Alexey TItarneko’s series of work City of Shadows and were taken in the 1990’s. The photos centred around the theme of totalitarianism which focused on the signs and statues that were crumbling around him. The photos were taken in Saint Petersburg where Titarenko had been photographing since he was eight years old. Many of his other photos reflect the history of the city that Titarenko saw unfolding.
The photos in City of Shadows seem eerie, haunting and disturbing. The people within appear as though they are ghosts that crowd the frame.
The photographer makes the photo seem decades old when it was only taken in the early 90’s. The large depth of field and long exposure gives the image a seemingly infinite amount of detail.
These images also provide a thoughtful insight into the world around Titarenko and allow those who may not at first have been able see it.
I would like to instil the same insight into my own photographs.
Shooting Days
I began my shooting on the 27th of November by travelling to Canterbury. I again took the Mamiya RZ and made my way to the centre of town as I thought that would be the best place to take the photos as it is generally is the busiest part of the city.
The specifications below are those I used when taking my Canterbury photos:
1. ½ second, f. 32
2. ½ second, f. 22 and 9 tenths
3. ½ second, f. 32 and 1 tenth
4. ½ second, f. 32 and 1 tenth
5. ½ second, f. 32 and 3 tenths
6. ½ second, f. 22 and 7 tenths
7. ½ second, f. 22 and 6 tenths
8. 1/30 second, f. 4 and 6 tenths
Outcome
The negatives and contact sheet of my day are below:
Evaluation
I am satisfied with the initial outcome of this project but I, as with the pastiche image, I would like the opportunity to retake the photographs so as to improve on what I have already done.
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