Still sitting researching Architectural photographers and again noticed this gentleman
Ezra Stoller was born in Chicago in 1915, grew up in New York and graduated from New York University in 1938 with a BFA in industrial design. As a student, he began photographing buildings, models and sculpture. In 1940-1941, Stoller worked with the photographer Paul Strand in the Office of Emergency Management; he was drafted in 1942 and worked as a photographer at the Army Signal Corps Photo Center. He died in Williamstown, Massachusetts, in 2004.
During his long career as an architectural photographer, Stoller worked closely with many of the period’s leading architects, including: Frank Lloyd Wright, Paul Rudolph, Marcel Breuer, I.M. Pei, Gordon Bunshaft, Eero Saarinen, Richard Meier and Mies van der Rohe, among others. Many modern buildings are known and remembered by the images Stoller created. He was uniquely able to visualize the formal and spatial aspirations of modernist architecture. The first time the American Institute of Architects awarded a medal for architectural photography, in 1960, it was given to Ezra Stoller.
He gained notoriety by producing stunning images of Modernist buildings of the early sixties. He managed by the use of mono crome, fascinating shapes and distinct tonal range to create interesting pictures of even the most simplistic and basic buildings. The Gugenheim museum in New York is very plain in its exterior texture but that in itself merely serves to add intensity to the shapes and patterns of the facade. By capturing the shades and framing the picture Stoller has provided even more interest over the full depth of the picture.
He gained notoriety by producing stunning images of Modernist buildings of the early sixties. He managed by the use of mono crome, fascinating shapes and distinct tonal range to create interesting pictures of even the most simplistic and basic buildings. The Gugenheim museum in New York is very plain in its exterior texture but that in itself merely serves to add intensity to the shapes and patterns of the facade. By capturing the shades and framing the picture Stoller has provided even more interest over the full depth of the picture.
This internal picture uses the tonal range very well and uses the dark tones to lead into the picture. Again he uses tones, shapes and patterns to break up and add interest to what would otherwise be a fairly jumbled shot.
Again the tonal range here is large and leads the eye into the picture. The shapes and patterns created by the tones are very interesting and to add more interest he has placed a person as the focal point. Note the rule of thirds is adhered to and the shade on the plinth adds foreground interest.
Fascinating picture with many focal points. Also the lines lead into and around the picture, both horizontally and vertically. Again the shades and tones create very interesting shapes.
Hi
ReplyDeleteThis research will guide and inform you as to what to try. The images you take should have an element of other peoples work to help you advance your own work.
The above work, particularly the last one shows signs of M.C Eschers art work in respect to art and design.
Steve
Hi
ReplyDeleteyou are on the right track with both themes, but more research of other photographers and their work. Pay close attention to what's required by the criteria and attack it. Keep the labels up, and keep taking images which we can see that research has inspired.
well done,
Steve