Fifth Avenue, Lunchtime
Homage to Andreas Feininger
I suppose that homage is just a fancy word for copy.
But Feininger was one of the first photographers that I fell in love with. Ansel was great for technique, but Feininger captured the city in ways that I hadn’t seen before and I felt a great affinity to him. That being said, I don’t think I ever went out and tried to emulate another photographer. But it’s a good exercise no matter how long you’ve been at it.
I.
II.
Now that I’ve gotten that out of my system I expect to use the contraption for some more original shots. I couldn’t put the tripod in the middle of the sidewalk, the Rockefeller people said that it had to be over by the curb. But I did the best I could. These were shot at 225mm - f16 - ASA 800 with the contraption of max height of 12 feet or so. The foreground subjects are about a block away.
III.
This last one is my personal favorite because of all the almost cubist-like shapes that would sound like a cacophony if you could translate it into music.
Comments
Comment from dave
Time: June 13, 2008, 2:50 pm
Stephen — I’m shooting at f16 or f22. I don’t know if the Speed Graphic has tilts, but that also effects the focus.
Comment from charles sessoms
Time: June 13, 2008, 8:30 pm
I have to agree with you Dave. I really like all these shots but for me number 3 is something special. The chaotic cacophony of people and objects drawing lines to and from each other as well outside the frame to more places and objects for the viewer to imagine is truly beautiful. Great shot.
Comment from Stephen Bray
Time: June 13, 2008, 2:25 pm
I like this because the focus does fall away. I am unsure though that the effect is the same as to be had with a 5×4?
May/June 2007 copy of American Photo shows some images of ceremonies at Arlington Cemetery captured with a Speed Graphic. The limited depth of field using a standard lens for the camera is extraordinary, and used to great effect by David Burnett.
Are you shooting at your widest aperture?
Stephen