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Visual Symphony: A Photographic Work in Four Movements
In four photographic movements entitled Landscape, Cathedrals of England, Urban Geometry, and Slit Canyons, Barnbaum explores shapes and the architecture of both manmade forms and the landscape
- GenresPhotography
126 pages, Hardcover
First published December 1, 1986
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July 17, 2011
"Reality is greater than our dreams." --Frederick Sommer
This is the quote that appears after the last photograph in the fourth and final movement of the book, and I think it sums up my reaction to it. As incredible as the cathedral interiors are and as often interesting as the urban exteriors of skyscrapers are, I am in awe of the images of nature best.
All the images in this work are black and white taken with a 4x5 Linhof Technika film camera. Technical information for each shot is summarized at the end of the book, including whether the image was manipulated in development--most were, for greater or lesser contrast. I wondered how the images of Antelope Canyon would have looked in color, would I have been in even more awe of the images? Nonetheless, there are some beautiful photographs in this book to linger over: the rich midtones of Plate 9, False Solomon's Seal, 1977, or the minimalist geometric irregularity of reflective windows in Plate 62, Los Angeles, 1985, or the graceful, arching grooves of Plate 84, Hollows and Points, Peach Canyon, 1984.
This is the quote that appears after the last photograph in the fourth and final movement of the book, and I think it sums up my reaction to it. As incredible as the cathedral interiors are and as often interesting as the urban exteriors of skyscrapers are, I am in awe of the images of nature best.
All the images in this work are black and white taken with a 4x5 Linhof Technika film camera. Technical information for each shot is summarized at the end of the book, including whether the image was manipulated in development--most were, for greater or lesser contrast. I wondered how the images of Antelope Canyon would have looked in color, would I have been in even more awe of the images? Nonetheless, there are some beautiful photographs in this book to linger over: the rich midtones of Plate 9, False Solomon's Seal, 1977, or the minimalist geometric irregularity of reflective windows in Plate 62, Los Angeles, 1985, or the graceful, arching grooves of Plate 84, Hollows and Points, Peach Canyon, 1984.
Displaying 1 of 1 review