Architecture : Photography:
Photography:
Photo by Helene Bient 2012
Photo by Helene Bient 2012
A contemporary building that stresses abstraction thanks to its use of the grid
Hélène Binet has become one of the world’s most famous architectural photographers，since she taught at the European Design Institute in Rome. She works for many good architects such as Daniel Libeskind, Peter Eisenman, Peter Zumthor, Zaha Hadid, and Luigi Moretti. She photographed a lot of perfect architectural photos, and each photo has a close relationship with the building itself. Although the word is often referred to as ‘photographer to the starchitects’, but this word does not really suit for her work. The photographer, born in Switzerland, views buildings in the eyes of a real artist. Her photos not only bring lifeless materials to life, but also seem to give these buildings a soul. Daniel Libeskind encouraged her to start shooting the building. He commented that Binet was very good at capturing the outline of buildings without squashing them. “She disclosed the achievements, power, sadness and fragility of the building,” he said. We have just published an extraordinary collection of her photos. This is the so-called creative space. We can’t wait to sit down and understand her creative process (PHAIDON, 2012). In the photographic language, the binet reflects her understanding and interpretation of the architecture, resulting in the separation of her work from pure literature and becoming an artwork. Through her images, she lets light and shadows take effect, grabs walls and openings, corners and curves, expresses her personal point of view by using her camera (Designboom, 2011). It’s Nice That (2013) states that he photographed the buildings of countless great architects. Her relationship with Hadid was probably the oldest. She documented her structure in the early 1990s and her relationships with these buildings provided all the most striking Photo. Known for her dramatic architecture, Hadid’s trademark curve is cut out through Helena’s image, creating a rich contrast between light and dark that emphasizes the power of the building. This is a very fitting match. Recently there may have been discussions about architectural reductions of purely aesthetic images, but certainly nothing wrong with shooting exceptional buildings with special skills.
Photo by JM 2018
A contemporary building that stresses abstraction thanks to its use of the grid
FILM:
https://medium.com/media/6891eaeec63d691aad967cbccacc9022/href
Noe, Gaspar — Enter the Void (2010) POV https://www.youtube.com/watch?v=A9_f1rPgtno
https://medium.com/media/f290ea7a5caa25aea9585ba9e562e7b0/href
JM 2018, https://youtu.be/Dkf6TIUssbo
Enter the Void was followed by drug trafficking boy Oscar, who was shot in Tokyo and looked after sisters from another world. Oscar’s subjective POV image, many of which are based on illusion and near-death experiences, was created and enhanced by the Paris studio BUF. VFX sup. Jeffrey Nyquiet told us about the uniqueness of this movie (Lan Failes, 2010). The main character enters the bathroom and wakes herself up after entering DMT. Considering that he had just stumbled on DMT, he looked at himself in the mirror and commented that he looked terrible. Oscar then poured some water on his face and tried to wake himself. In the end, he heard the knock on the door and looked through the peephole and found his friend Alex at the door. The content of this scene makes it so important. Scene content is a combination of camera movement and character movement. It is this combination that makes the scene in the virtual void very difficult to produce. In the shooting process, the audience sees things through the eyes of the character, which means that the audience must experience this interaction whenever the character interacts with his eyes. These facial interactions are depicted by masking the lens at certain locations using something (probably a hand), as if the audience actually covered their eyes in this way. The second part of the content of this scene is the movement of the character. Oscar leans, turns around like any normal person, and does when looking in the mirror. The impressive part is that the camera follows his movement in exactly the same way by tilting and panning (Nickbartram, 2013).My film also uses the first-person perspective to shoot, at the beginning of the movie, I walked alone on the road city, and then I saw my classmates, I ran over to greet him, and then he and I share his snack, Then we walked forward together. At the end of the movie, I accidentally fall down.
Reference list:
Designboom, Hélène Binet: architecture photographs, Aug 11, 2011, Viewed in April 03, 2018, <https://www.designboom.com/art/helene-binet-architecture-photographs>
It’s Nice That, Hélène Binet is a master at capturing the world’s most beautiful buildings, January 15, 2013, Viewed in April 3, 2018,<https://www.itsnicethat.com/articles/helene-binet>
Lan Failes, Enter the Void by fx, December 28, 2010, Viewed in April 10, 2018, https://www.fxguide.com/featured/enter_the_void_made_by_fx/
Nickbartram, Scene Analysis 2: Enter the Void, 2013, Viewed in April 10, 2018, https://introcinechamplainnickbartram.wordpress.com/2013/10/09/scene-analysis-2-enter-the-void-2/
PHAIDON, ten questions for photographer Hélène Binet, December 06, 2012, Viewed in April 03, 2018, <http://au.phaidon.com/agenda/photography/articles/2012/december/06/ten-questions-for-photographer-helene-binet/>
