Panoramic landscapes of various places in New York City.  A view of the intersection of St. Nicholas & Amsterdam Avenues, New York City, Nov. 1980.
St. Nicholas & Amsterdam Ave., N.Y.C., Nov. 1980

35mm format, gelatin-silver prints, overall 5" x 34" (id#102.1/360.28-39)
A panoramic view of upper Broadway at West 166th Street in New York City, with the famous Audubon Ballroom, site of the assassination of Malcolm X.
Audubon Ballroom, 166th & Broadway, Nov. 1980

35mm format, gelatin-silver prints, overall 3 1/2" x 25" (id#105.3/360.16-20)

The Audubon Ballroom was for many years a landmark of upper Manhattan, and became still more famous as the site of the assassination of Malcolm X in 1965.
Panoramic landscapes of various places in New York City.  A view of the Pedestrian Ramp and the George Washington Bridge, New York City, Nov. 1980.
Pedestrian Ramp, GW Bridge, N.Y.C., Nov. 1980

35mm format, gelatin-silver prints, overall 3 1/2" x 25" (id#105.1/362.22-26)
Panoramic landscapes of parks in New York.  A view of the greenhouse of the Brooklyn Botanical Gardens, Oct. 1980.
Greenhouse, Brooklyn Botanical Gardens, October 1980

35mm format, gelatin-silver prints, overall 4 3/4" x 19" (id#105.2/356.44-5)
Panoramic landscapes of various places in New York City.  A view of the mausoleum of Trinity Church Cemetery, Sept. 1980.
Mausoleum, Trinity Church Cemetery, September 1980

35mm format, gelatin-silver prints, overall 4 3/4" x 12 1/2" (id#349.24-28)

It was an achievement to make a modern mausoleum fit in so well in the midst of a very old cemetery in a neighbourhood developed around 1900-1910.  Its masses are very well-proportioned and differentiated, thus avoiding a blockhouse effect.  The planners even managed to leave a strategic gap at just the right place to allow a fine neoclassical monument to be seen by passersby on Riverside Drive.
A panoramic landscape of a living room in upstate New York.   A view of the living room of my brother's house, LaGrangeville, N.Y., May 1980.
Living Room, LaGrangeville, N.Y., May 1980

35mm format, gelatin-silver prints, overall 5" x 23" (id#103.1b)

Making panoramic assemblages of interiors, one  gets more oblique angles, more overlapping, and a more disjointed effect when exposures are aimed down or up rather than horizontally.
Panoramic landscapes of various places in New York City.   A view of Ferris Booth Hall at Columbia University, New York City, ca. 1982.
Ferris Booth Hall, Columbia University, NYC, ca. 1982

35mm format, gelatin-silver prints, overall 1 1/2" x 6" (id#497.17-22)
Panoramic landscapes of various places in New York City.  A view of Columbus Circle, New York City, n.d..
Columbus Circle, New York City, n.d.

35mm format, gelatin-silver prints, overall 1 1/2" x 6" (id#648)
Panoramic landscapes of various places in New York City.  A view of the supports of an underpass, New York City, n.d..
Underpass, Bridge Supports, N.Y.C., n.d.

35mm format, gelatin-silver prints, overall 1 1/2" x 6" (id#IAD)
Panoramic landscapes of various places in New York City.  A view of Hudson Street in the West Village, New York City, n.d..
Hudson Street, West Village, N.Y.C., n.d.

120 format, gelatin-silver prints, overall 2 1/4" x 8 3/8" (id#IAD)
A panoramic interior of a bedroom in Long Island, with fresco painting of 1969-71 by my brother Brian Schill.
Bedroom with Psychedelic Frescoes, Islip, ca. 1982

35mm format, gelatin-silver prints, overall 1 1/2" x 9" (id#491)

My brother Brian spent a good part of the summers of 1969-73 painting the ceiling and walls of our bedroom with intense and colorful invented imagery.

A panoramic interior of the kitchen of my old apartment in Washington Heights, New York City.
Kitchen, Washington Heights, N.Y.C., ca. 1983

35mm format, gelatin-silver prints, overall 1 1/2" x 6" (id#564)
A panoramic interior of the living room of my family's old home in Islip, Long Island.
Living Room, Islip, Long Island, New York, ca. 1983

35mm format, gelatin-silver prints, overall 1 1/2" x 6" (id#574b)
A panoramic interior of the living room and kitchen of my family's old home in Islip, Long Island.
Living Room and Kitchen, Long Island (Waltz), ca. 1983

35mm format, gelatin-silver prints, overall 1 1/2" x 14" (id#574a)

In this work, not only did I change vantage point considerably from frame to frame, but did a quick retrograde spin at about midpoint and moved into another room.

Multi-framed panoramic photo-assemblage of my old studio in Torino, Italy, a cluttered artist's studio.
Photographer's Studio, 2008

Digital photographs, 8 x 46 cm. at 300dpi

A panoramic assemblage of the studio I've kept for years. Not my first panoramic subject with the theme of a fertile chaos.

Brooklyn Bridge, Centenary Celebration.  A night view of the bridge on the occasion of the centennial of the Statue of Liberty in 1986, with the World Trade Center towers visible.
Brooklyn Bridge, Independence Day, 1986

35mm format, type C prints, overall 6 1/4" x 36 1/2" (id#109.1)

The occasion was a rooftop celebration of the centennial of the Statue of Liberty on July 4th, 1986.  The World Trade Center towers are visible at far left.

Multi-Frame Panoramic Assemblages - Urban Locations and Interiors


As with a previous group, the panoramic assemblages of parks, these are of mixed derivation.  Those with thin black borders (the first six in the sequence) are reproductions of photo assemblages actually made from small enlargements (about 3 1/2" x 5").  The very last, of the Brooklyn Bridge at night (in color), also with thin borders, was made of prints enlarged to 6" x 9" each and then mounted together.  The next to last was taken with a digital camera.  The remainder, with thick black borders, are of contact sheets, of which I made extra sets at the time with the intention of making these miniatures, which are in fact mounted and matted for display.  They make a very different kind of impact this way as opposed to enlarged.  I didn't mind that it was less work than making enlargements, but I don't exclude the possibility.  


Photography is a medium that tends to multiply:  the more primary work you do - the taking of photographs - the more secondary (and tertiary, etc.) work you create for yourself.  Therefore every photographer has to decide, given limited resources of time, materials, and storage space, which exposures to carry forward and produce for eventual display, and which to leave in the semi-oblivion of the photographer's personal archive.  Many worthy photographs, as good as the ones that make the cut, have to be left behind. 


© 2014 Allen Schill.  All rights reserved.  No part of this document may be reproduced or used without prior written permission from the author. Anyone is welcome to link to it, or to quote brief passages, but I would like to be notified.

© Copyright Allen Schill

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