I like the way that 4 different angles are being relayed at the same time, which empathissis the 'being watched' feeling
I then went back to the site and recorded all the CCTV cameras I could find and mapped them on an ariel view of the site.
There are basically three types of sensors used in motion detectors spectrum:
A Passive InfraRed sensor (PIR sensor) is an electronic device that measures infrared (IR) light radiating from objects in its field of view. PIR sensors are often used in the construction of PIR-basedmotion detectors (see below). Apparent motion is detected when an infrared source with one temperature, such as a human, passes in front of an infrared source with another temperature, such as a wall.
All objects emit what is known as black body radiation. It is usually infrared radiation that is invisible to the human eye but can be detected by electronic devices designed for such a purpose. The termpassive in this instance means that the PIR device does not emit an infrared beam but merely passively accepts incoming infrared radiation. “Infra” meaning below our ability to detect it visually, and “Red” because this color represents the lowest energy level that our eyes can sense before it becomes invisible. Thus, infrared means below the energy level of the color red, and applies to many sources of invisible energy.
Harry Callahan (October 22, 1912 – March 15, 1999) was an influential twentieth centuryAmerican photographer.
His technical photographic method was to go out almost every morning, walk the city he lived in and take numerous pictures. He then spent almost every afternoon making proof prints of that day's best negatives. Yet, for all his photographic activity, Callahan, at his own estimation, produced no more than half a dozen final images a year.
He photographed his wife, Eleanor, and daughter, Barbara, and the streets, scenes and buildings of cities where he lived, showing a strong sense of line and form, and light and darkness. He also worked with multiple exposures. Callahan's work was a deeply personal response to his own life. He encouraged his students to turn their cameras on their own lives, leading by example. Callahan photographed his wife over a period of fifteen years, as his prime subject. Eleanor was essential to his art from 1947 to 1960. He photographed her everywhere - at home, in the city streets, in the landscape; alone, with their daughter, in black and white and in color, nude and clothed, distant and close.
I find this repetitive surveillance of his loved ones, interesting and out of the ordinary, as if to sneak up on his subjects from behind in a voyeuristic fantasy.
Lee Friedlander (born July 14, 1934) is an American photographer and artist.
In the 1960s and 70s, working primarily with Leica 35mm cameras and black and white film, Friedlander evolved an influential and often imitated visual language of urban "social landscape," with many of the photographs including fragments of store-front reflections, structures framed by fences, posters and street-signs all combining to capture the look of modern life.
I love how Friedlander literally stalked his prey, including his shadow, when he gets eerily close to the backs of his subject.
Ron Galella (born January 10, 1931) is an Americanphotographer, known as a pioneerpaparazzo.
Dubbed "Paparazzo Extraordinaire" by Newsweek and “the Godfather of the U.S. paparazzi culture” by Time Magazine and Vanity Fair, he is regarded as the most controversial celebrity photographer in the world.
Galella is willing to take great risks to get the perfect shot. In his in-home darkroom, Galella makes his own prints which have been exhibited at museums and galleries throughout the world, including the Museum of Modern Art in both New York and San Francisco, the Tate Modern in London, and the Helmut NewtonFoundation Museum of Photography in Berlin.
Alison Jackson (Born Alison 15 May 1960 in Southsea, Hampshire) is an English artist.
She hit the headlines in 1999 with her lookalike photographs of celebrities in compromising positions, and went on to win a BAFTA for BBC 2's series Doubletake.
Kohei Yoshiyuki (吉行耕平Yoshiyuki Kōhei?, born 1946) is a Japanese photographer who attracted much attention in 1979 with his exhibition "Kōen" (公園, Park) at the Komai Gallery, Tokyo.
The black and white photographs were presented in a book published in 1980 that is "nominally a soft-core voyeur's manual",[1] with photographs of people in sexual activities inShinjukuandYoyogi parks (both in Tokyo), mostly with unknown spectators around them. The photographs were taken with a 35 millimetrecamera and infrared flashbulbs.Gerry Badger and others have commented on how the photographs raise questions about the boundaries between spectator, voyeur and participant.
Lawrence Donald "Larry" Clark (born January 19, 1943) is an American film director,photographer, writerand film producer who is best known for the movie Kids and his photography book Tulsa.
His most common subject is youth who casually engage inillegal drug use, underage sexand violence, and who are part of a specific subculture, such assurfing, punk rock o rskateboarding.
Henri Cartier-Bresson (August 22, 1908 – August 3, 2004) was a French photographer considered to be the father of modern photojournalism.
He was an early adopter of 35 mmformat, and the master of candid photography. He helped develop the "street photography" or "real life reportage" style that has influenced generations of photographers who followed.
Garry Winogrand (14 January 1928, New York City – 19 March 1984, Tijuana, Mexico
Known for his portrayal of American life in the early 1960s, many of his photographs depict the social issues of his time and in the role of media in shaping attitudes. He roamed the streets of New York with his 35mm Leica camera rapidly taking photographs using a prefocused wide angle lens. His pictures frequently appeared as if they were driven by the energy of the events he was witnessing. While the style has been much imitated, Winogrand's eye, his visual style, and his wit, remain unique.
Initial thoughts...
Please find 10 images of previous work. Most the images I have picked are my photography as I wanted to show the shots which represent my style and choice of setting. I feel these images are a good starting point to help me start my final year, as they already have an essence of what I want to look at. I have always been drawn to 'empty' images, urban isolation and negative space; a horror-film setting. I like when atmospheric space can portray a filmic set.
After visiting the site I started to think about what its main purpose is, and tourism seems to play a heavy role in keeping the site busy.
I would like to look at the use of surveillance with the area being so heavy filmed by CCTV, and the idea to become the voyeur, or the stalker to watch peoples behaviour. I like that
photography and film can work faster than the eye to capture a split-second slice of real life.
"Cameras on street corners, in shops and public buildings silently record our every move, while web-based tools such as Google Earth adapt satellite technology ensure that there is no escape from the camera's all-seeing eye."
After spending the day at the site, I started to pick areas that follow a theme of isolation, a complete contrast to the busy tourist areas just meters away. One area I focused my attention on was an underground car park.
Motion sesored lights followed my movement underground like a tracking device, so even though I was alone, it felt like I was being watched.
Does photography allow us to bear witness to a victim's suffering, or does it anaesthetize us to the horror?
