Wednesday, May 26, 2010
Monday, May 17, 2010
PICTORIALISM
Now I would like to discover an early photography movement which I came across during my research regarding aspects of Fine Art Photography.
Pictorialism:
This movement took place in the second half of the nineteenth century when photography became first popular. According to Leggat (1999) pictorialism meant focusing more on the finished picture than the subject itself. The key aspect was putting the attention on the created atmosphere or the point of view. Those photographers were trying to achieve a more artistic approach of the image taking. They were more interested in the aesthetics of the photograph and the emotional impact it would have on the viewer.
By the end of the nineteenth century, after the people got used to this new technical device, some of them started questionning the camera. They regarded it as too accurate and too detailed in its recordings. So they tried to reduce the signs of the technological process within the photographs which were often out of focus on purpose (Wells, 1997). This lead to the fact that photographers began to experiment with the camera and developed new techniques which brought the photographs closer to an art form which was called High-Art photography.
At this period photographers were also strongly influenced by current art movements, i.e. by the impressionism. Their works showed particular features similar to paintings.
New techniques (Leggat 1999):
Oscar Rejlander (Sweden, 1813 - London 1875)
http://farm2.static.flickr.com/1432/1184969319_31bb656e0f.jpg
http://www.geh.org/fm/rejlander/m197202490027.jpg
http://www.geh.org/fm/rejlander/m198400810001.jpg
Henry Peach Robinson (1830 - 1901)
http://www.kiberpipa.org/gallery/album82/Henry_Peach_Robinson_Fading_Away_1858.jpg
http://www.edinphoto.org.uk/0_P/0_photographers_robinson_when_the_days_work_is_done.jpg
http://www.edinphoto.org.uk/0_p/0_photographs_in_exhibitions_robinson_-_somebody_coming.jpg
Photographers were often criticised in this period, however, they believed that photography was more than a 'mechanical form of imagemaking' (Wells 1997).
There have also been fights between painters and photographers because of the big competition amongst them. Photographers were making simple photographic portraits of people in the streets, who were not able to afford to pay for a painted one.
The advantages of photography were obvious. If somebody wanted a painted portrait, he would have to trust the uncertain skills of the painter. Photography on the contrary was quicker in execution and more accurate in details than a painting might have been (Wells 1997).
On the other hand, there also have been some photographers who were celebrating the features and qualities of the mechanical photography. The visual world could be recorded more accurately than ever.
Pictorialism:
This movement took place in the second half of the nineteenth century when photography became first popular. According to Leggat (1999) pictorialism meant focusing more on the finished picture than the subject itself. The key aspect was putting the attention on the created atmosphere or the point of view. Those photographers were trying to achieve a more artistic approach of the image taking. They were more interested in the aesthetics of the photograph and the emotional impact it would have on the viewer.
By the end of the nineteenth century, after the people got used to this new technical device, some of them started questionning the camera. They regarded it as too accurate and too detailed in its recordings. So they tried to reduce the signs of the technological process within the photographs which were often out of focus on purpose (Wells, 1997). This lead to the fact that photographers began to experiment with the camera and developed new techniques which brought the photographs closer to an art form which was called High-Art photography.
At this period photographers were also strongly influenced by current art movements, i.e. by the impressionism. Their works showed particular features similar to paintings.
New techniques (Leggat 1999):
- the use of focus
- manipulations of the negative or
- developping techniques such as 'gum bichromate', which diminished the sharpness of details and created a more artistic picture
Oscar Rejlander (Sweden, 1813 - London 1875)
http://farm2.static.flickr.com/1432/1184969319_31bb656e0f.jpg
http://www.geh.org/fm/rejlander/m197202490027.jpg
http://www.geh.org/fm/rejlander/m198400810001.jpg
Henry Peach Robinson (1830 - 1901)
http://www.kiberpipa.org/gallery/album82/Henry_Peach_Robinson_Fading_Away_1858.jpg
http://www.edinphoto.org.uk/0_P/0_photographers_robinson_when_the_days_work_is_done.jpg
http://www.edinphoto.org.uk/0_p/0_photographs_in_exhibitions_robinson_-_somebody_coming.jpg
Photographers were often criticised in this period, however, they believed that photography was more than a 'mechanical form of imagemaking' (Wells 1997).
There have also been fights between painters and photographers because of the big competition amongst them. Photographers were making simple photographic portraits of people in the streets, who were not able to afford to pay for a painted one.
The advantages of photography were obvious. If somebody wanted a painted portrait, he would have to trust the uncertain skills of the painter. Photography on the contrary was quicker in execution and more accurate in details than a painting might have been (Wells 1997).
On the other hand, there also have been some photographers who were celebrating the features and qualities of the mechanical photography. The visual world could be recorded more accurately than ever.
Sources:
Leggat, R 1999, Pictorialism, viewed 22. May 2010, http://www.rleggat.com/photohistory/. => Significant Processes => Pictorialism.
Wells, L 1997, Photography: A Critical Introduction, Routledge, London/ New York, pp. 21.
Sunday, May 9, 2010
Comment on "Re-View" Part 2
Continuing my comment on the exposition, I would like to express my interest in the photographs of Edward Steichen (1879-1973). His view on photography is inventive and experimental.
With his picture "The Pond-Moonrise", 1904, he captures a very mysterious twilight in the trees.
The most interesting about that picture is that we perceive it as a painting. Steichen's technique blurs the boundaries between a photograph and a painting. He succeeded in generating a spot of colour in the reflection of the water, before colour photography was even invented. That way the resulting picture is just closer to a painting.
He was creating this illusion of colour by applying layers of light-sensitive gum to the paper.
Source: http://www.andrewward.com/Photos/edward_steichen/edward_steichen_moonrise_mamaroneck.jpg
---------------------------------
I like the fact that all photographers discovered their own ways of interpreting photography and pursued what they thought would be the essence of photography.
For example, Paul Strand (1890-1976).
He was heading in the direction of realism and was trying to approach realism by taking photographs with a concealed camera.
There is no posing of the person in front of the camera. We only observe unique genuine expressions on the man's face.
"Strand's portrait also marks the beginnings of a shift from high aestheticism of pictorialism towards a grittier realism indicative of the modern era."
(NGV comment)
We can obviously see that photographers are very well capable to introduce changes in how photography is viewed by the contemporaries and lead the art of photography in a whole new direction.
"Man", Five Points Square, NY, 1916
Source: http://www.photogravure.com/photogravure_images/medium/Strand_03_06.jpg
----------------------------------
It also surprised me and made me happy to see a photograph of Man Ray (1890-1976).
This innovative artist worked all as a painter, sculptor, film-maker and photographer. What is interesting about him is that he strongly affiliated to the surrealist and Dada art movements which not only influenced his work, but also had a great impact on his oeuvres. Man Ray is the one who creates a connection between painting, photography and sculpturing. He tries to melt very different art procedures as a whole. We see an obvious expression of surrealism in his photographs by him creating bizzare effects often on purpose.
He is playing a lot with different shapes and shadows which generate a great contrast between bright and dark parts , putting seemingly unrelated objects to the setting like a sculpture of a hand standing on or coming out of a football alike object.
Man Ray, Untitled (Self-Portrait), 1933
----------------------------------
At the exposition there also was a photograph that requested a lot more of my attention than the others. "The Melancholic Tulip" by Andre Kertesz (1894-1985), 1939
It's a beautiful self-portrait. This to the ground sinking tulip reminds us of a sad, feeling down human being. The photograph is so emotional that we can identify ourselves with the sinking flower.
It's a great choice of lighting. The light source being on the right side makes the tulip appear in black and white, one side in the light and the other in the shadow.
But how did he do that? The vase is taken from 2 different angles. You see it from the one side, but you also gain insight into the vase from above. After some research I found out that the 'melancholic tulip' was a picture of the series 'Distortion'. Objects or still life were photographed in "funhouse" mirrors.
http://www.photographersgallery.com/i/full/melancholic_tulip.jpg
-------------------------------------------------------------
My favourite photograph is taken by Roger Mayne "Young smokers", Southam Street, North Kensington, 1956
It's amazing how he succeeded in capturing the bold and naughty look of the young boy on the right. I love this picture just for its simplicity and the catchy moment of young male bonding.
http://www.rogermayne.com/sstreet/DSC_0034.jpg
-----------------------------------
Robert Frank, "Caerau, Wales", 1953
Even if the photograph is blurry, the viewer gets the atmosphere among the soldiers. It's scary and realistic at the same time. There is a beautiful contrast between the dark, mud covered face in the foreground and the bright shining eyes looking very threatful at the observer.
This photograph creates a really intense feeling when your eye catches the soldier's gaze. This gaze and the looks of the other soldiers are desperate and wishfully hoping to get home soon. We literally feel with the soldiers.
I think war photographers are to be respected for what the do. They make things visible which are normally concealed to the great public.
http://www.christies.com/lotfinderimages/d49723/d4972309r.jpg
With his picture "The Pond-Moonrise", 1904, he captures a very mysterious twilight in the trees.
The most interesting about that picture is that we perceive it as a painting. Steichen's technique blurs the boundaries between a photograph and a painting. He succeeded in generating a spot of colour in the reflection of the water, before colour photography was even invented. That way the resulting picture is just closer to a painting.
He was creating this illusion of colour by applying layers of light-sensitive gum to the paper.
Source: http://www.andrewward.com/Photos/edward_steichen/edward_steichen_moonrise_mamaroneck.jpg
---------------------------------
I like the fact that all photographers discovered their own ways of interpreting photography and pursued what they thought would be the essence of photography.
For example, Paul Strand (1890-1976).
He was heading in the direction of realism and was trying to approach realism by taking photographs with a concealed camera.
There is no posing of the person in front of the camera. We only observe unique genuine expressions on the man's face.
"Strand's portrait also marks the beginnings of a shift from high aestheticism of pictorialism towards a grittier realism indicative of the modern era."
(NGV comment)
We can obviously see that photographers are very well capable to introduce changes in how photography is viewed by the contemporaries and lead the art of photography in a whole new direction.
"Man", Five Points Square, NY, 1916
 | |
Source: http://www.photogravure.com/photogravure_images/medium/Strand_03_06.jpg
----------------------------------
It also surprised me and made me happy to see a photograph of Man Ray (1890-1976).
This innovative artist worked all as a painter, sculptor, film-maker and photographer. What is interesting about him is that he strongly affiliated to the surrealist and Dada art movements which not only influenced his work, but also had a great impact on his oeuvres. Man Ray is the one who creates a connection between painting, photography and sculpturing. He tries to melt very different art procedures as a whole. We see an obvious expression of surrealism in his photographs by him creating bizzare effects often on purpose.
He is playing a lot with different shapes and shadows which generate a great contrast between bright and dark parts , putting seemingly unrelated objects to the setting like a sculpture of a hand standing on or coming out of a football alike object.
Man Ray, Untitled (Self-Portrait), 1933
----------------------------------
At the exposition there also was a photograph that requested a lot more of my attention than the others. "The Melancholic Tulip" by Andre Kertesz (1894-1985), 1939
It's a beautiful self-portrait. This to the ground sinking tulip reminds us of a sad, feeling down human being. The photograph is so emotional that we can identify ourselves with the sinking flower.
It's a great choice of lighting. The light source being on the right side makes the tulip appear in black and white, one side in the light and the other in the shadow.
But how did he do that? The vase is taken from 2 different angles. You see it from the one side, but you also gain insight into the vase from above. After some research I found out that the 'melancholic tulip' was a picture of the series 'Distortion'. Objects or still life were photographed in "funhouse" mirrors.
http://www.photographersgallery.com/i/full/melancholic_tulip.jpg
-------------------------------------------------------------
My favourite photograph is taken by Roger Mayne "Young smokers", Southam Street, North Kensington, 1956
It's amazing how he succeeded in capturing the bold and naughty look of the young boy on the right. I love this picture just for its simplicity and the catchy moment of young male bonding.
http://www.rogermayne.com/sstreet/DSC_0034.jpg
-----------------------------------
Robert Frank, "Caerau, Wales", 1953
Even if the photograph is blurry, the viewer gets the atmosphere among the soldiers. It's scary and realistic at the same time. There is a beautiful contrast between the dark, mud covered face in the foreground and the bright shining eyes looking very threatful at the observer.
This photograph creates a really intense feeling when your eye catches the soldier's gaze. This gaze and the looks of the other soldiers are desperate and wishfully hoping to get home soon. We literally feel with the soldiers.
I think war photographers are to be respected for what the do. They make things visible which are normally concealed to the great public.
http://www.christies.com/lotfinderimages/d49723/d4972309r.jpg
Sunday, April 25, 2010
Comment on "Re-View" Part 1
I really appreciated the exposition on photography at the NGV. I spent hours commenting and observing the pictures closely and I liked it. In my opinion the NGV collected those pieces of work because the art photographers who were chosen for this exposition were either the first ones to experiment with the chemical composition of paper for photographs and create new ways of photography (i.e. Edward Steichen) or they were the first ones to make a change in a photography movement (i.e. Paul Strand).
The first thing I was really impressed by was the stereoscopic daguerreotype in the little glass box. I've never seen one before. Having read the history of photography, it was interesting to see it in real life.
However, I would also like to discuss some photographs from the exposition.
(All the facts and information concerning the Photographs is based on the information provided from the NGV.)
William Henry Fox Talbot
1843, "Portrait of a man" (no titel)
Source: http://www.ngv.vic.gov.au/climages/large/Fe1/Fe100158.jpg
This is a salted paper photograph, which is very sensitive to light. I was really surprised how accurate and sharp it was, if you consider that it was one of the first photographs ever .You can even see the facial features of this man's face on the original.
Sometimes I just ask myself why these pictures look so beautiful. Do they show creative potential because the photographer was skilled enough to generate the Aura of this special moment (as Walter Benjamin would call it) or do the pictures just look wonderful because the picture itself, or the paper which it was printed on, are from another time period and doesn't look like perfect digital pictures we are used to see every day??? We are curious about the old clothes of the people, the locations that don't exist anymore and even the people's faces don't look like modern faces we are used to see every day.
Difficult to find the answer, however, I suppose we appreciate the old photographs so much just because they are kind of antique. Over time the consistency and quality of the paper change, so that the photographs appear a little out of focus which makes them look similar to paintings.
For example the photograph of Nadar, "Alexandre Dumas" (1855)
Source: http://amica.davidrumsey.com/luna/servlet/view/search?q=AMICOID=CMA_.1983.198%20LIMIT:AMICO~1~1&sort=INITIALSORT_CRN%2COCS%2CAMICOID&search=Search
Dumas is not looking directly in the camera, but with a slight smile on his face.
This photograph is really interesting. The sharpness of his hands and face on the one hand and the blurring around his arms and shoulders on the other hand, remind the viewer of a painting. However, it is a photograph with all the accurate details of Dumas' face , hair and hands.
Or for example the Photograph of Thomas Annan, "Close no. 11 Bridgegate (1897)
Source: http://www.ngv.vic.gov.au/climages/large/Fe1/Fe100246.jpg
Although it shows a great depth of space through dark colours in the front and bright colours in the background, it really gives the impression of a painting.
It seems that this could be one of the reasons that we consider these photographs as art: the similarity to paintings!
However, it is also important to mention that Annan did great work in finding this place and chose just the right moment to capture all the beauty and the seemingly romantic atmosphere of this narrow lane.
The first thing I was really impressed by was the stereoscopic daguerreotype in the little glass box. I've never seen one before. Having read the history of photography, it was interesting to see it in real life.
However, I would also like to discuss some photographs from the exposition.
(All the facts and information concerning the Photographs is based on the information provided from the NGV.)
William Henry Fox Talbot
1843, "Portrait of a man" (no titel)
Source: http://www.ngv.vic.gov.au/climages/large/Fe1/Fe100158.jpg
This is a salted paper photograph, which is very sensitive to light. I was really surprised how accurate and sharp it was, if you consider that it was one of the first photographs ever .You can even see the facial features of this man's face on the original.
Sometimes I just ask myself why these pictures look so beautiful. Do they show creative potential because the photographer was skilled enough to generate the Aura of this special moment (as Walter Benjamin would call it) or do the pictures just look wonderful because the picture itself, or the paper which it was printed on, are from another time period and doesn't look like perfect digital pictures we are used to see every day??? We are curious about the old clothes of the people, the locations that don't exist anymore and even the people's faces don't look like modern faces we are used to see every day.
Difficult to find the answer, however, I suppose we appreciate the old photographs so much just because they are kind of antique. Over time the consistency and quality of the paper change, so that the photographs appear a little out of focus which makes them look similar to paintings.
For example the photograph of Nadar, "Alexandre Dumas" (1855)
Source: http://amica.davidrumsey.com/luna/servlet/view/search?q=AMICOID=CMA_.1983.198%20LIMIT:AMICO~1~1&sort=INITIALSORT_CRN%2COCS%2CAMICOID&search=Search
Dumas is not looking directly in the camera, but with a slight smile on his face.
This photograph is really interesting. The sharpness of his hands and face on the one hand and the blurring around his arms and shoulders on the other hand, remind the viewer of a painting. However, it is a photograph with all the accurate details of Dumas' face , hair and hands.
Or for example the Photograph of Thomas Annan, "Close no. 11 Bridgegate (1897)
Source: http://www.ngv.vic.gov.au/climages/large/Fe1/Fe100246.jpg
Although it shows a great depth of space through dark colours in the front and bright colours in the background, it really gives the impression of a painting.
It seems that this could be one of the reasons that we consider these photographs as art: the similarity to paintings!
However, it is also important to mention that Annan did great work in finding this place and chose just the right moment to capture all the beauty and the seemingly romantic atmosphere of this narrow lane.
Saturday, April 24, 2010
Funny japanese Photographs by Hiroshi Watanabe
Sarumawashi, literally "monkey dancing" evolved over a 1000-year history in Japan. It's one of the oldest and most traditional of Japan's performing arts. It features acrobatic stunts and comedic skits performed by highly trained macaque monkeys.
Aikichi 2, Suo Sarumawashi (2008) Hiroshi Watanabe
Genki with Monchhichi, Suo Sarumawashi (2008) Hiroshi Watanabe
Choromatsu 2, Suo Sarumawashi (2008) Hiroshi Watanabe
- http://www.hiroshiwatanabe.com/HW%20website%20Folder/Pages/Suo%20Sarumawashi/Suo%20Sarumawashi%20Intro.html
- http://www.hiroshiwatanabe.com/HW%20website%20Folder/Pages/Suo%20Sarumawashi/Choromatsu%202.html
- http://www.hiroshiwatanabe.com/HW%20website%20Folder/Pages/Suo%20Sarumawashi/Aikichi%202.html
- http://www.hiroshiwatanabe.com/HW%20website%20Folder/Pages/Suo%20Sarumawashi/Genki%20with%20Monchhichi.html
Aikichi 2, Suo Sarumawashi (2008) Hiroshi Watanabe
Genki with Monchhichi, Suo Sarumawashi (2008) Hiroshi Watanabe
Choromatsu 2, Suo Sarumawashi (2008) Hiroshi Watanabe
Source:
- http://www.hiroshiwatanabe.com/HW%20website%20Folder/Pages/Suo%20Sarumawashi/Suo%20Sarumawashi%20Intro.html
- http://www.hiroshiwatanabe.com/HW%20website%20Folder/Pages/Suo%20Sarumawashi/Choromatsu%202.html
- http://www.hiroshiwatanabe.com/HW%20website%20Folder/Pages/Suo%20Sarumawashi/Aikichi%202.html
- http://www.hiroshiwatanabe.com/HW%20website%20Folder/Pages/Suo%20Sarumawashi/Genki%20with%20Monchhichi.html
Being inspired!
I am happy to get to know the works of so many different photographers in class. All of them have different styles and ways to interpret the medium photography. They provide important inspiration.
i.e. Les Krims
Born in 1943 in New York City
1984 - http://www.revelinnewyork.com/sites/default/files/4S04645.jpg
Les Krims expresses a critical view on society. He tries to create exaggerated locations for his photographs and uses pieces of kitsch and gadgetry from mass culture to ironically rail against the stereotypes of over-industrialization. By drawing his inspiration from popular imagery and illustrated magazines, he deals with the relationship of dependence between people and their everyday surroundings. I think he also criticises the mass consumption of goods.
or i.e. Richard Avedon
Born in 1923 in New York City
http://anniegotgun.files.wordpress.com/2009/07/avedon_02.jpg
The pieces of work of Richard Avedon are real treasures. His portraits of people are poetic. His Portfolio: "In the American West" has impressed me the most. It's refreshing to see people just as they are, not smiling, just standing in front of his camera. Showing their occupation sometimes just by their clothes, just at the right moment, as if they were at work.
-------------------
It's just disappointing that as a student photographer I don't have the same resources like professional photographers. I can't hire a bunch of people who do the setting and the lighting for me as I want it. I can't spend much money on creating a whole new set and pay for models like Gregory Crewdson.
http://realgothic.files.wordpress.com/2009/06/gregory-crewdson02.jpg
http://coromandal.files.wordpress.com/2008/05/amstaged_0305.jpgv
http://www.vam.ac.uk/images/image/29134-large.jpg
Gregory Crewdson is an active creating photographer. He leaves nothing to chance and creates his setting like a real artist. He is best known for elaborately surreal scenes of American homes and neighborhoods. He employs lighting in a special meaningful way in order to generate mysterious colours and atmosphere.
------------------
However, I try to get the most out of my settings even if I can't change the things I find in the streets. I've read about many photographers who actually love taking pictures in the streets of a neighborhood. I'm one of them!!! No matter which city, there is always something to discover in the streets. In my eyes the most interesting objects in front of a camera's lens are people. Reading people's faces you can learn a lot about the time period they lived in and how they feel.
So my next personal project will deal with images of people in the streets and their facial expressions.
i.e. Les Krims
Born in 1943 in New York City
Les Krims expresses a critical view on society. He tries to create exaggerated locations for his photographs and uses pieces of kitsch and gadgetry from mass culture to ironically rail against the stereotypes of over-industrialization. By drawing his inspiration from popular imagery and illustrated magazines, he deals with the relationship of dependence between people and their everyday surroundings. I think he also criticises the mass consumption of goods.
or i.e. Richard Avedon
Born in 1923 in New York City
http://anniegotgun.files.wordpress.com/2009/07/avedon_02.jpg
The pieces of work of Richard Avedon are real treasures. His portraits of people are poetic. His Portfolio: "In the American West" has impressed me the most. It's refreshing to see people just as they are, not smiling, just standing in front of his camera. Showing their occupation sometimes just by their clothes, just at the right moment, as if they were at work.
-------------------
It's just disappointing that as a student photographer I don't have the same resources like professional photographers. I can't hire a bunch of people who do the setting and the lighting for me as I want it. I can't spend much money on creating a whole new set and pay for models like Gregory Crewdson.
http://realgothic.files.wordpress.com/2009/06/gregory-crewdson02.jpg
http://coromandal.files.wordpress.com/2008/05/amstaged_0305.jpgv
http://www.vam.ac.uk/images/image/29134-large.jpg
Gregory Crewdson is an active creating photographer. He leaves nothing to chance and creates his setting like a real artist. He is best known for elaborately surreal scenes of American homes and neighborhoods. He employs lighting in a special meaningful way in order to generate mysterious colours and atmosphere.
------------------
However, I try to get the most out of my settings even if I can't change the things I find in the streets. I've read about many photographers who actually love taking pictures in the streets of a neighborhood. I'm one of them!!! No matter which city, there is always something to discover in the streets. In my eyes the most interesting objects in front of a camera's lens are people. Reading people's faces you can learn a lot about the time period they lived in and how they feel.
So my next personal project will deal with images of people in the streets and their facial expressions.
New Discovery of a japanese Photographer
I like a lot the black and white photography of Hiroshi Watanabe.
During my research I came across this japanese photographer and liked his work at once. I think it's important to be aware of photography from other cultures which can be also very inspiring and meaningful. We always concentrate our interest on american or european photographers. Time for a change ;)
Quiet, thoughtful and unassuming are words often used when describing his images. Watanabe proves again that when a photographer is patient, beauty and opportunity reveals itself in everyday events.
Battery Park, New York (1999) Hiroshi Watanabe
Barber Shop, Asakusa, Japan (2004) Hiroshi Watanabe
Santa Monica Pier (2000) Hiroshi Watanabe
Wedding Glove, Honolulu, Hawaii (2004) Hiroshi Watanabe
Sardar Market, Jodhpur, India (2000) Hiroshi Watanabe
During my research I came across this japanese photographer and liked his work at once. I think it's important to be aware of photography from other cultures which can be also very inspiring and meaningful. We always concentrate our interest on american or european photographers. Time for a change ;)
Quiet, thoughtful and unassuming are words often used when describing his images. Watanabe proves again that when a photographer is patient, beauty and opportunity reveals itself in everyday events.
Battery Park, New York (1999) Hiroshi Watanabe
Barber Shop, Asakusa, Japan (2004) Hiroshi Watanabe
Santa Monica Pier (2000) Hiroshi Watanabe
Wedding Glove, Honolulu, Hawaii (2004) Hiroshi Watanabe
Sardar Market, Jodhpur, India (2000) Hiroshi Watanabe
http://www.edelmangallery.com/exhibitions/2009/watanabe/watanabeshow2009.htm
In my eyes Watanabe captures mysterious situations, in which there is a lot going on. Shadows of people behind doors or a piece of drapery are telling a story. The viewer can use his imagination to complete the situation or draw different conclusions. It's really interesting.
Source:
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