Wednesday, 5 November 2014

Street Photography Research - Arif Asci

The photo shoot of  Arif Asci’s work I looked at was, Istanbul Panorama. The photographer has captured the personality of Istanbul, the largest city in Turkey through a panoramic camera. I accumulate that throughout Asci’s photography; the work shows the atmosphere surrounding sitters within a shot. The photographer doesn’t create their own interpretation in their photography; this is because they have had to quickly capture a photograph of a moment, without thinking too much about creating their own elucidation.
Arif Asci, Istanbul Panorama, 2003

The photographer has achieved the outcome by capturing photographs by 6x17cm on a middle format panoramic camera on black & white negative film. The consequence of capturing photographs with a panoramic camera has allowed the photographer to show the viewer their entire surroundings.
I was attracted to Asci’s photography for the reason that, the photographs weren’t captured with the standard 35mm SLR camera. The style of this ‘street photography’ is different compared to other photographers approach such as, Bruce Gilden and Garry Winogrand. When looking at Asci’s work, I feel as though the photograph is my surrounding. I was also intrigued by how much interest and attention can by captured in one panoramic frame. My thoughts and feelings to this particular technique stand fascinated and inspired. I’m fascinated at how much of a moment in life has been captured. The photographs stand up for themselves and can’t be reinvented because they weren’t staged; they were truly what the photographer could see at the time in Istanbul, back in 2003.
Arif Asci, Istanbul Panorama, 2003
The photographer has used lighting throughout their photography by accentuating the natural, atmospheric lighting around them. The impact of the lighting has allowed the photographs to have the right exposure, highlighting what the photographer was mainly focussing on. The lighting in the photographs tells the viewer the time of day was between midday – afternoon, this is shown by where the shadows are created. By using a black and white film alongside shooting with a panoramic camera, I find the lighting is evenly distributed across the entire frame. Because the lighting throughout most of the photographs look as though they were captured on a sunny day, I think that the photographer used a small aperture to let less light through the lens. Using a large aperture would have made the photographs become overexposed.
Arif Asci, Istanbul Panorama, 2003
In the frame, the photographer has included their surroundings; I feel that this is a true representation of what they can see. The true representation of the photographer’s environment has been reflected through shooting with a panoramic camera. The choice of framing could influence the viewer’s opinion in a positive way, that occurrence represents the photographer showing honesty through what they are capturing and not cropping parts out of the frame.
The viewpoints in Asci’s photographs have all been captured from the same angle. The angles are mainly from a straight on point of view, keeping the same composition each time. Capturing the photographs from a straight on angle allows the viewer to see the photographer’s perspective. I feel as though Asci has kept the camera Eye level, this has allowed the photographs to have a realistic feel, as though you’re there in that environment.
Arif Asci, Istanbul Panorama, 2003
Arif Asci, Istanbul Panorama, 2003
The focus throughout Arif Asci’s photographs has been the people in the photograph. There is always some form of life or evidence of human interaction within Asci’s panoramic photographs. The photograph of clothes drying on the washing line doesn’t have a person within the photograph, but it is evidence of human interface. Another photograph captures a train that I gather is travelling at a high speed due to the blur, this photograph also has a sitter at the centre of the photograph. The focus is always to do with people. Even the photograph of balloons blowing in the wind could represent the air from the human lungs, that have now been captured in those balloons and then captured within a photograph. 
Arif Asci, Istanbul Panorama, 2003

Life Below, Christophe Agou, 2004

The photographer has used different techniques to capture different moods. As this photographer has used a panoramic way to frame photographs, the photographer has already changed the look from standard photographs. One photograph of Arif Asci’s work I found was similar to a photograph Christophe Agou captured was the one with the mirror. The mirror has been used to reflect what was behind the photographer as well as what was in front of them. 
Arif Asci, Istanbul Panorama, 2003

Overall Asci’s photography has helped me to look at street photography in a different way. The photographs aren’t the stereotypical standard size and allow more in the frame. I am inspired by Asci’s attitude of “There was no shore, no street I didn’t go out and see.” The photographs Asci have captured are evidence to their quote, showing that they have tried to capture everything they possibly can. I am encouraged to try capturing photographs with a panorama camera, if I were to capture street photography in the future.

Arif Asci Photograph Analysis
Figure : Istanbul Panorama, 2003
The girl in the photograph sets off the overall mood, I find she looks lost in thought and this makes everyone else in the background look as though they are wondering around lost in thought also. The young girl in the photograph has a sad expression on her face; this may make the viewer concerned for her.
The photograph has a shallow depth of field; this has been created from the young girl. The girl in the photograph looks to be the main focus of the photograph as she is the closest to the camera. From the girl, the viewer then looks on into the background of the photograph to notice the rest of the people who aren’t in focus. The people in the background are slightly blurry, this shows that they are rushing around, not really taking any notice of what’s going on around them. The girl, who is looking in the opposite direction, may make the viewer question what she’s looking at, that is behind the camera.
I don’t think a small aperture was used to capture this photograph as it looks as though the photograph was captured on a sunny day. The lighting in the photograph looks as though it was naturally lit, this is because of the time of day, possible captured early in the afternoon. I think that the black and white colours work well for this and balance out various parts than what it would have done, have been being captured in colour. The lighting also highlights the girls face well, showing a slight frown of an expression on her face. The lighting also makes me question if that is creating the girls expression to be a slight frown or is that the mood she was in when the photograph was captured.
For this photograph, the photographer looks as though they are standing over everyone. The shot looks as though it was captured from a high angle rather than from the usual eye level. The high angle of the photograph suggests that the viewer has more of a powerful approach towards the photograph. The composition of the photograph looks closed, but when looking at the people in the background, parts of them are cut out of the frame, leading to an open composition. Rule of thirds looks as though it was used when capturing this photograph, this is because the point of interest (being the girl) is at line of intersection.
My Own Photography Analysis – Photograph from Photo shoot 3
My Photograph 35mm SLR - Photo Shoot 3
My photograph I have captured I find looks similar to Arif Asci’s photograph I have analysed. I think that the photographs are comparable as they both feature a young girl to be the closest to the camera. In Asci’s photograph there is a crowd of people in the background making the photograph not have the exact look I have captured. In the photograph I have captured, two of the people in the background are giving eye contact towards my camera lens. 
To mainly focus on the girl closest to the camera, I have used a shallow depth of field. I used a small aperture to let more light through the lens. The shutter speed I had captured this photograph on was 250; this allowed enough light through my lens. Although there was a person in the background cup out of the frame, the composition of the photograph was closed; this was because everything I wanted in the frame was captured.
As I captured this photograph outdoors, the lighting of the photograph was naturally lit. I captured the photograph early in the afternoon around 2pm and it was also a sunny day, but there were a few clouds around, which I have captured in the background of this photograph.
The location of this photograph was captured on the millennium bridge in Newcastle Upon Tyne. The location was busy and when capturing street photography, the busier the better. The angle I captured this photograph from was from eye level and straight on. I wanted the viewer to feel as though they are standing there in the photograph and see from my perspective.
The body language of the people I have captured shows that they know I was taking the photograph. Also the facial expression of the girl on the left doesn’t look very positive and she has a disgusted look on her face. The people in the background of the photograph seem to have the opposite reaction to the girl; this is shown in their smiling faces and posture.

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