تويت
لي فريدلاندر : تصوير الحياة في المدينة الحديثة .. تطوير نهجك الخاص .. المرشد خطوة بخطوة للتصوير الفوتوغرافي
LEE FRIEDLANDER : Portraying modern city life
At first sight , most of Lee Friedlander's photographs look like the sort of snapshots a beginner might mistakenly take . His photographs capture seemingly random , in- consequential moments , confronting the viewer with glimpses of city life he might otherwise fail to notice or choose to ignore . He might almost be described as a photo- grapher of the " non - event " none of his pictures are of subjects that conventional photographers would consider taking . His series of self - portraits , for example , contains only distorted or truncated reflections of himself in mirrors or shop windows .
There is no clear - cut conclusion or message to be drawn from his photographs . But his work is typical of a new breed of American social landscape " photographers influenced by Robert Frank , who are com- mitted to direct , unglamorized recording of urban life in their pictures .
Friedlander's subject matter is the city and its people . He uses a viewfinder camera and carries with him a minimum of equip- ment , restricting himself to three lenses - 28 mm , 35 mm , and 50 mm - as he prefers to work close to his subject .
Like Cartier - Bresson he works as an ob- server , using his camera to record a moment in time . But whereas Cartier - Bresson is con- cerned with the " decisive moment " when both subject and composition are at their most expressive , Friedlander is more inter- ested in the random events of everyday life . His pictures are often visual paradoxes in which the viewer is constantly challenged and tricked , not without a gentle humor .
Although Friedlander claims that his work is not premeditated and at first his pictures seem haphazard , they are carefully considered . Most of his photographs seem to turn the traditional , accepted rules of composition upside - down . His pictures often have no main subject or center of interest , the whole frame being filled with dis- tracting elements . Background and fore- ground are equally distinct and detailed and the viewer's eye is often led around or out of , rather than into , the picture by his device of cutting off large shapes at the edges of the frame . People are generally de- personalized - shown from the rear , ob- scured by streetlights or other objects , or amputated by the picture frame .
Friedlander's pictures are as much ques- tions statements about urban America and a great deal is left for the viewer to decide . His photographs make us wonder if the well - composed , subject - oriented picture is not a little contrived and unreal ; whether randomness and fragmentation are not a truer reflection of modern urban life .
Chicago , 1966
A characteristically random picture of a cluttered city street . As in most of Friedlander's work , the people are depersonalized and dominated by the street " furniture " and the viewer is left to wonder man will look like when he appears .
Connecticut , 1973
This seemingly aimless street scene demonstrates one of Friedlander's favorite compositional devices - the use of linear objects , such as streetlights , to divide up the frame into panels . This device demands that the viewer draws connections between the people or objects in the different compartments - in this photograph , the statue of the soldier seems to be stalking the women in the next panels .
Los Angeles , 1967
The headless figure at the top of the frame and the bodyless head at the bottom give a strange sense of transition and continuity in this unusually symmetrical picture . Friedlander has used the traditional compositional elements , line , tone , and balance to distract and confuse the viewer rather than to lead to any main point of interest .
Hotel room , Portland , Maine , 1962
This picture exemplifies all the bleakness of a hired hotel room in a strange town . The only " humanity " is provided by the image on the television screen . The harsh lighting helps to accentuate the emptiness and sense of isolation .
LEE FRIEDLANDER : Portraying modern city life
At first sight , most of Lee Friedlander's photographs look like the sort of snapshots a beginner might mistakenly take . His photographs capture seemingly random , in- consequential moments , confronting the viewer with glimpses of city life he might otherwise fail to notice or choose to ignore . He might almost be described as a photo- grapher of the " non - event " none of his pictures are of subjects that conventional photographers would consider taking . His series of self - portraits , for example , contains only distorted or truncated reflections of himself in mirrors or shop windows .
There is no clear - cut conclusion or message to be drawn from his photographs . But his work is typical of a new breed of American social landscape " photographers influenced by Robert Frank , who are com- mitted to direct , unglamorized recording of urban life in their pictures .
Friedlander's subject matter is the city and its people . He uses a viewfinder camera and carries with him a minimum of equip- ment , restricting himself to three lenses - 28 mm , 35 mm , and 50 mm - as he prefers to work close to his subject .
Like Cartier - Bresson he works as an ob- server , using his camera to record a moment in time . But whereas Cartier - Bresson is con- cerned with the " decisive moment " when both subject and composition are at their most expressive , Friedlander is more inter- ested in the random events of everyday life . His pictures are often visual paradoxes in which the viewer is constantly challenged and tricked , not without a gentle humor .
Although Friedlander claims that his work is not premeditated and at first his pictures seem haphazard , they are carefully considered . Most of his photographs seem to turn the traditional , accepted rules of composition upside - down . His pictures often have no main subject or center of interest , the whole frame being filled with dis- tracting elements . Background and fore- ground are equally distinct and detailed and the viewer's eye is often led around or out of , rather than into , the picture by his device of cutting off large shapes at the edges of the frame . People are generally de- personalized - shown from the rear , ob- scured by streetlights or other objects , or amputated by the picture frame .
Friedlander's pictures are as much ques- tions statements about urban America and a great deal is left for the viewer to decide . His photographs make us wonder if the well - composed , subject - oriented picture is not a little contrived and unreal ; whether randomness and fragmentation are not a truer reflection of modern urban life .
Chicago , 1966
A characteristically random picture of a cluttered city street . As in most of Friedlander's work , the people are depersonalized and dominated by the street " furniture " and the viewer is left to wonder man will look like when he appears .
Connecticut , 1973
This seemingly aimless street scene demonstrates one of Friedlander's favorite compositional devices - the use of linear objects , such as streetlights , to divide up the frame into panels . This device demands that the viewer draws connections between the people or objects in the different compartments - in this photograph , the statue of the soldier seems to be stalking the women in the next panels .
Los Angeles , 1967
The headless figure at the top of the frame and the bodyless head at the bottom give a strange sense of transition and continuity in this unusually symmetrical picture . Friedlander has used the traditional compositional elements , line , tone , and balance to distract and confuse the viewer rather than to lead to any main point of interest .
Hotel room , Portland , Maine , 1962
This picture exemplifies all the bleakness of a hired hotel room in a strange town . The only " humanity " is provided by the image on the television screen . The harsh lighting helps to accentuate the emptiness and sense of isolation .
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