35mm format, gelatin-silver prints, overall 5" x 34" (id#102.1/360.28-39)
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.
35mm format, gelatin-silver prints, overall 3 1/2" x 25" (id#105.1/362.22-26)
35mm format, gelatin-silver prints, overall 4 3/4" x 19" (id#105.2/356.44-5)
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.
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.
35mm format, gelatin-silver prints, overall 1 1/2" x 6" (id#497.17-22)
35mm format, gelatin-silver prints, overall 1 1/2" x 6" (id#648)
35mm format, gelatin-silver prints, overall 1 1/2" x 6" (id#IAD)
120 format, gelatin-silver prints, overall 2 1/4" x 8 3/8" (id#IAD)
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.
35mm format, gelatin-silver prints, overall 1 1/2" x 6" (id#564)
35mm format, gelatin-silver prints, overall 1 1/2" x 6" (id#574b)
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.
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.
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