It is well known that f/64 photographers used the smallest aperture f/64. And the latter would demand a very long exposure. As a result, the group members would shoot mostly landscapes and still life. So let us see if the photo under discussion can be called a sort of homage to f/64 works.
Little do I know about Cristiano Abreu except that he lives in V.N. Famalicao, Portugal, works as a web designer and seems to photograph very much like f/64 group. For most of his photos he chooses f22-64. Unlike Sonya Noskowiak (another member of f64) Abreu doesn’t seem to find urban landscapes attractive. He is definitely very interested in nature, which in his photos looks abandoned, slightly mysterious and poetic. Yet some elements of urbanization may still appear in his images (bridges, houses, stairs, belfry, etc).
Ponte Do Ardo (2007). The photo is very sharp-focused and carefully framed. Abreu chose the high vantage point for this picture and it is very much like many of Ansel Adams’ works. However, I would not call this composition very successful. Definitely Abreu’s photo is very well balanced thanks to the two roads which seem to form a rhythmic pattern and bring into cohesion the right and the left part of the picture. Yet, the construction in the lower left corner is a little bit disturbing. On the other hand, Abreu explains that it is ‘the miradouro (sightseeing point) da cascata (waterfall) do Arado, one of the best known attractions in Gerкs’. From this point of view, probably, the presence of this strange thing in the picture can be justified.
The depth of field is tremendous. Details are very sharp and distinct and the tonal range is rather wide and carefully preserved, which again seems to be very much Ansel Adams influence. Unfortunately, Abreu 'lost' the sky, but it doesn't seem to spoil the whole scene. In the comment to the picture Abreu says that he used a medium yellow #8 square filter to cut the haze and he also used other standard B&W filters to increase contrast and lighten the tones.
In general, I think this is a very good example of a modern work which is connected with the beliefs and techniques of f/64 group. However, I am still a little bit disappointed with the composition, which was always considered to be the part and parcel of the modernist aesthetic in 1920-30s but in this picture it became a little bit neglected.
PS I found out that there are plenty of clubs f/64 in the USA. Those people are direct followers of the first f/64 and they discuss a lot of interesting things concerning the Old School and the new tendencies. In case you are interested, here is the link to the forum http://www.largeformatphotography.info/forum/archive/index.php/t-1319.html
Little do I know about Cristiano Abreu except that he lives in V.N. Famalicao, Portugal, works as a web designer and seems to photograph very much like f/64 group. For most of his photos he chooses f22-64. Unlike Sonya Noskowiak (another member of f64) Abreu doesn’t seem to find urban landscapes attractive. He is definitely very interested in nature, which in his photos looks abandoned, slightly mysterious and poetic. Yet some elements of urbanization may still appear in his images (bridges, houses, stairs, belfry, etc).
Ponte Do Ardo (2007). The photo is very sharp-focused and carefully framed. Abreu chose the high vantage point for this picture and it is very much like many of Ansel Adams’ works. However, I would not call this composition very successful. Definitely Abreu’s photo is very well balanced thanks to the two roads which seem to form a rhythmic pattern and bring into cohesion the right and the left part of the picture. Yet, the construction in the lower left corner is a little bit disturbing. On the other hand, Abreu explains that it is ‘the miradouro (sightseeing point) da cascata (waterfall) do Arado, one of the best known attractions in Gerкs’. From this point of view, probably, the presence of this strange thing in the picture can be justified.
The depth of field is tremendous. Details are very sharp and distinct and the tonal range is rather wide and carefully preserved, which again seems to be very much Ansel Adams influence. Unfortunately, Abreu 'lost' the sky, but it doesn't seem to spoil the whole scene. In the comment to the picture Abreu says that he used a medium yellow #8 square filter to cut the haze and he also used other standard B&W filters to increase contrast and lighten the tones.
In general, I think this is a very good example of a modern work which is connected with the beliefs and techniques of f/64 group. However, I am still a little bit disappointed with the composition, which was always considered to be the part and parcel of the modernist aesthetic in 1920-30s but in this picture it became a little bit neglected.
PS I found out that there are plenty of clubs f/64 in the USA. Those people are direct followers of the first f/64 and they discuss a lot of interesting things concerning the Old School and the new tendencies. In case you are interested, here is the link to the forum http://www.largeformatphotography.info/forum/archive/index.php/t-1319.html
I agree with you about the composition. (I think that is part of a house (?) in the lower left hand corner. I don't think I would have included it were I shooting this.) However, I especially the way the image seems to emphasize depth with the two roads serving to guide the eye from the horizon into the bridge and accompanying ravine below.
ReplyDeleteehhh, as I have written in the text the author explaines himself that it's not a house a 'sightseeing point' (scenic view as it is called in the US). So, may be from a historical point of view it's a necessary part :)
ReplyDeleteThis is a good example of f64 today. I like your honest and mixed appraisal of it.
ReplyDelete