My focus is now on objects in the environment determined by my daily routine: home and office where everything is subordinate to the utilitarian principles and contains the abstract beauty in the hidden logic of the functional structures.
Capturing objects in the office, place where I was asked many times by security why I am shooting and If I have a permission, is always quite uncomfortable and I want as little references to the recognisable characteristics of this place as possible. I am recording only fragments and additionally, conscious of the consequences, I adapted a couple of photographic 'solutions'. With very wide aperture and hence the shallow depth of field, I focus on the intriguing details/compositions and keep everything else blurred out and unrecognisable (it is interesting how those choices became now, after reading Shore, the deliberate characteristics on the 'depictive level'). I look for unusual vantage points as well and frame the scene with the use of the zoom close up.
Thinking about the idea of the 'impossible places' recently only intensified my gaze. I see the opportunities literally everywhere and I've been shooting a little bit more in the office this week. There is an interesting accumulation of man-made forms designed to be organised in mathematical order (which constitute the patterns characteristic to natural structures on the molecular level but not normally occurring in the human scale world) - but with time escaping those rigid norms and becoming the pure example of organic chaos...
As a result I have a series of quite interesting captures but most of all a two very important observations came up from it which will influence my project.
First is that by choosing various settings the camera and lens offer me (focus plane, time of exposure, zoom) as well as the vantage point and frame, I am able to extricate the shape which is important to me without taking it out of the place where it naturally exist. So far I used to photograph the objects on the plain background in a way the product photography is produced. This new realisation opens up some new directions which is a really good thing especially in context of the 'impossible places' concept. All my attempts so far were based on the same idea of bringing the various objects to the spaces which they don't belong to, but now I think I should consider the native space of the objects.
Second observation is about the unexpected qualities the 'real' space add to the image - the depth which is build up with the perspective and the dynamic relations between the objects determined by the lights and shadows.
'OFFICE' MICRO SERIES