Ok- here are some twosies I did, still with the Rollei and the panorama adapter.
The first one is a shot of a street corner with the skeletal remains of a police call box from the first decade or so of the 20th century. The building behind it is now a charter school. I’ve often thought of how to photograph the wall around the playground fence behind the school. This is the first shot I’ve done that really does it justice.
I came upon this mailbox leaning at its crazy angle and decided it would make a good subject for a diptych that emphasized and even exaggerated the tilt of the mailbox. What is it with me and mailboxes?
Both of these scenes are in my neighborhood – I walk past them regularly on my way to run errands or get some dinner. I’m really starting to appreciate the advice of Edward Weston, “There’s no good photos to be made more than 50 feet from the car”, although I’m expanding the perimeter and rephrasing it a little: “There are plenty of good photos to be had within a mile of your house”.
Having been a big collecting fan of 19th century studio portraits, I thought it would be interesting to take on the genre and see if I could manipulate the conventions and subvert them while preserving enough visual continuity that you could visually trace the lineage. Here are my first two efforts. I chose diptychs of my models nude and clothed to inaugurate the series; placing the nude image to the left means the nude reads first in a western left-right reading order, giving primacy of meaning, a naturalness, to the nude, which conflicts with conventional social notions of the nude as an un-natural state. It questions the construction of identity through the construction of the clothed figure. I have printed them in palladium, again, to reinforce the stylistic referent to the Victorian era studio portrait through the look and feel of the image tone. Granted the vintage originals would have been printed in albumen, but this is certainly close enough.