Here is a comparative exercise certainly trying in vain to detect the differences in approaches between photographers of postcards on the same architectural detail.
The purpose?
myth: The escalators of the Pompidou Center.
I'll give away the two images.
The upper one is due the photographer A. Choi to the editor Chantal. The photographer is standing, he chose one of the peculiarities of the Centre Pompidou, who made his popular success, the tube of the escalator. He does not play too much symmetry but finally lands a visitor does, watching the huge drop in the mechanical device and so it is also demonstrating its transparency without doubt the landscape and the views that can offer this strange modern window on the old Paris.
In a sense, a man who visits and notes what he sees, so in reality it is constructive that can collect this architecture. It is simply superb in his drawing of the object, the fields color (blue-gray) and the choice of the tip of the red dress of the woman downstairs is certainly no coincidence.
A. Choi has done a great job here that could be described as a kind of objective, that is to say trying to be fair at best as a possible place, a reception of the faithful place. This is a beautiful and popular document.
Another postcard is published by Prestige. Just the name of the publisher tells us much of a desire to differentiate editors playing on luxury and originality as surely. If Luxury is here, also is ... banal ... On
logo image editor sign as a stamp of photography and the back is not divided as other more vulgar postcards. Prestige is actually a collection edited by the great editor Théojac Cape. This view is due to P. Dubois and admittedly without delay, this shot is superb!
photographer kneeling, slipped between two ramps, rubber in the gap of the glass railing and just screw the angle produced by the curve of the escalator, over-emphasizing his dive.
The game highlights and curved and straight lines form an abstract work which, while being the closest to the object makes it less readable and almost gossamer. It is obvious that this shot is legible to those who visited the Centre Pompidou and does nothing to have this place a representative image. It does not build an image of the architecture (the caller can not "take nothing") but it allows the sender to say how much the place has both a strangeness and a photogenic.
The buyer of this type of shot is therefore recognized in an attitude of originality and positioning shifted to an architectural object that is already very pronounced in this direction. He is talking about make sense (if not implemented).
P. Dubois seeks, aims, built his shot in this direction. He wants the original and for that he just finally get his body to the ground and cover an area not surveyed by the bodies of visitors but a space that only the eye and the camera can focus.
Is this a valid place for this architecture? Since it undoubtedly picture! It certainly goes without saying that neither Rogers nor Piano would have imagined this canyon glass of an escalator as a point of view of their architecture, but finally P. Dubois them justice.
architects who put the guts of the building frontage, although he had suddenly, as through a colonoscopy inventive photographer is the tube like a hose leading a very fluid especially: the visitors.
It is they that drive the front and it is this muscle mechanical digests!
Still, these two photographs taken a few inches difference says a lot about how we construct an architectural image. One for the architecture, the other using it to his account. But P. Dubois and A. Choi also offer us both very beautiful photographs, we must take the measure but without hierarchy. How to finally choose between quality documentary and photographic work?
Say if I wanted to show this place to someone who has not seen, I would say "look at this photograph A. Choi "and someone who has visited, I would say" look we could see that too, as P. Dubois. "
And I confess that every time I go to Centre Pompidou, I systematically searched the two mentioned.
The pleasure of returning the image to its place, I owe to photographers postcards but of course the architects who helped by their incredible work we provide an open, curious and poetic.
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