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Lens “In the late fall and early winter of 2006, bracing himself against gusts of freezing wind, a slightly apprehensive Michael Wolf stood atop rooftops in downtown Chicago with a medium-format camera. He gazed at the modern glass exteriors and saw few signs of life. What he found was a sad, impersonal city that reminded him of Edward Hopper’s paintings. Mr. Wolf composed his photographs, eliminating any horizon by cutting off the tops and bottoms of the buildings in his frame. There are no visual paths out of his images, making them feel claustrophobic. He calls this “no-exit photography.” In looking at prints from the first few weeks’ worth of digital images. Mr. Wolf saw tiny wisps of life in the windows of his futuristic cityscapes. After enlarging them hundreds of times, he was able to really see the people inside the buildings. What Mr. Wolf found echoed his impressions of the architecture. The inhabitants seemed to be living gloomy, banal lives. The book that resulted, “The Transparent City” (Aperture Foundation, 2008), combines impersonal cityscapes shot primarily at dusk or at night with details of the buildings’ inhabitants that become impressionistic because of the pixelation from extreme enlargement. Mr. Wolf added…” Continue reading on the New York Times’ Showcase

Lens

“In the late fall and early winter of 2006, bracing himself against gusts of freezing wind, a slightly apprehensive Michael Wolf stood atop rooftops in downtown Chicago with a medium-format camera. He gazed at the modern glass exteriors and saw few signs of life. What he found was a sad, impersonal city that reminded him of Edward Hopper’s paintings.

Mr. Wolf composed his photographs, eliminating any horizon by cutting off the tops and bottoms of the buildings in his frame. There are no visual paths out of his images, making them feel claustrophobic. He calls this “no-exit photography.”

In looking at prints from the first few weeks’ worth of digital images. Mr. Wolf saw tiny wisps of life in the windows of his futuristic cityscapes. After enlarging them hundreds of times, he was able to really see the people inside the buildings. What Mr. Wolf found echoed his impressions of the architecture. The inhabitants seemed to be living gloomy, banal lives.

The book that resulted, “The Transparent City” (Aperture Foundation, 2008), combines impersonal cityscapes shot primarily at dusk or at night with details of the buildings’ inhabitants that become impressionistic because of the pixelation from extreme enlargement. Mr. Wolf added…”

Continue reading on the New York Times’ Showcase

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  10. tonysojka reblogged this from roamin and added:
    this photographs are amazing…i felt like being hypnotized.
  11. roamin posted this
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