This is one of the images by Gursky which I find really interesting because to me this holds so much more symbolism than just a picture of windows and balconies. Firstly, I think this image is interesting because of the framing Gursky has done on the building. To be able to take an image like this, it appears that he was in a tall building opposite this one. This has a much better effect on the image rather than if he had taken whilst standing on the floor and looking up- it wouldn't have been as "neat". Additionally, I find this image has symbolism because each window and balcony is the same in the term of style and size. However, when you look at each room you can almost personify the rooms- giving them a personality even when there aren't people in every room. We can build this symbolism through the positioning of chairs. For example some balconies have only one chair- perhaps they live alone. Other balconies with two chairs are all positioned differently as well. Some are facing each other and some are looking out towards the Gursky. This can be used to frame a personality as well because the chairs facing each suggest a sociable aspect- they sit outside to talk to one another, whereas the chairs which face outside the balcony imply they sit out there together admiring what ever it is in front of them. Another aspect to this image I find appealing is the colouring, even though this is entirely down to Gursky- he has found a building where the curtains within each room contrasts in colour with the white building. I find this image useful in influencing my project because it showed me to try experiment with a head-on position in order to create an image which is pleasing to look at.
This image was taken in Hosel 1984. I have found that this style of photography- the head-on framing, was more consistent within Gursky older series; in the 80s. For this particular image I think it is really interesting because if you were to search Hosel in Germany, it appears to be quite built up, though at the point of this image, you can see the making of buildings- this appears to be a building site. Many photographers may have taken images of the building inside- the creation. However as Gursky has taken an image of the incomplete wall building I think it is really interesting because it shows the creation rather than the outcome. Further more, Gursky has chosen to share this image, even though if he had waited a couple seconds later, the people wouldn't be in the frame, so clearly showing that Gursky preferred having subjects in the frame. Someone may see this image and think that the photographer was too impatient to wait until the passerbys leave the frame. Although personally I think the use of the subjects make this particular image symbolic as it shows they aren't paying any attention to this building- much like many people, if a building doesn't have anything to do with them, effect them, they will just happily pass it by. However I think this building looks very intriguing because it appears to be in the middle of being built yet the state of the bricks look quite old creating a distinct between new and old, perhaps this is an old building in the middle of being re done.
This image was taken in Kirchfeldstrasse 1980 and was the oldest image on the website that I found for Gursky. Even though this image isn't a "head-on" effect like the other images in this post I still find relevance in this photo. This is because Gursky has create an image which appears to be in a very small room in a quite run-down building, however this contrasts with what comes up when you search this place. This implies within the last 30 years it has been done up, but before hand it looked really run done, much like it does in this particular room. I find this image interesting because even though as already mentioned it appears to be run down, there is contrasting the old and new, much like other images in Gursky's work- the window frame and ledge looks freshly painted but the rest of the wall looks much older and in need of a new "touch".
This image is of Passport Control in 1982 and is part of Gursky's series of "Desk Attendants", which I personally find really intriguing because even though this is directly focusing on structures- it is focusing on the subjects, I personally think the structure of the booths can be read as quite interesting structures alone. Yet again this is another example of how Gursky's work has influenced my project because it shows the head on effect, if Gursky had taken this image from an angle and the subjects had to turn their head slightly, I do not think it would have the same effect because the framing of all the different lines would be off. It is almost as if this is a reflection of one side, however the only difference is the different attendant.
Influence and Summary...
As a whole I believe Gursky is one of the key photographers which helped influence the work within this project because I have been able to use the techniques such as the composition of a head on factor within my shoots of buildings such as my door shoot and my shop shoot (as shown in the example above of an old police station building). One of the other techniques that Gursky's work has helped influenced my work with is the use of lighting; most of Gurksy's work is quite light and over exposed a little bit, which is why I wanted to go out and do these shoots when it was a bright day, so I could naturally take similar images in terms of the lighting. Gursky has also helped my project as a whole in showing the use of symbolism through the composition in causing personification of the different buildings.
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