Color, Shadows, and Architecture series (Santa Fe, N.M., Part 1)

Color, Shadows, and Architecture marks my (re)discovery of the abstract (the pure form) and departure from the subject of landscape, or people. More and more interested in designing with my camera viewer, I compose my images by carefully looking at the scene, with the camera’s eye, and search for pleasing formal relationships between the line, the color, and the shape, all “hidden” within the architecture in front of me. Sometimes, I find interesting compositions within the same subject matter, the same location, or the same architectural structure, by visiting it few hours later, when the sun suddenly causes metamorphoses the whole composition and renders a brand new esthetic experience.

In the span of almost a week, between October 20th and 25th 2019, I shoot about 300 photographs and was able to select several finalists to make up the series.

I am still wondering, and the time will show, if this was just infatuation, or if this trip to Santa Fe was a beginning of a new relationship?

Undoubtedly, I was influenced by my current reading of splendid Modernists & Mavericks by Martin Gayford. The book traces artistic careers of a group of formative, London-based painters, such as Francis Bacon, David Hockney, and Lucian Freud, among others. Revisiting (online) the work of such key photographers as Lee Friedlander, Edward Weston, Alfred Stieglitz, or, in particular, Paul Strand (the master of shadow and architecture) was also inspiring before departing the hotel for my daily photo hunts during my stay in Santa Fe.

In Santa Fe, color and architecture take over my interest of my surroundings. Landscapes, even people, do not exist anymore! I am looking for a complex conglomeration of three visual elements that will make up my compositions: color, shadow, and of course interesting architecture. If one of the three elements is either absent in the scene in front of me, I do not even take my camera out of the bag. If, however, all three seem to pop-up before me, I spent some time analyzing the the scene and shoot several images constantly adjusting my POV. (It is very hard, if impossible, to know at the time of shooting which image is the winner; that happens much later on, while in front of the computer’s monitor).

 

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