I have decided to look at some more precedents for this project, just to aid in how I can establish and define my work.
My fourth precedent is Eugene Atget, who in his time was very much a lone wolf. He didn't start any movement, didn't attract a large amount of followers, but created extremely pure and beautiful images that have outlasted him. His pieces show spaces that feel almost surreal, but at the same time are extremely visceral.
Copyright Eugene Atget
Copyright Eugene Atget
Again, like Mark Power, Atget conveys the true space, in it's pure form. The spaces still have an ethereal feel to them however, and they almost seem to have stepped out out of an old novel. The time Atget lived in considerably reduced what he could do with the camera, however, I feel that ultimately his photos have not suffered. They don't lose any of their charm through age.
My fifth precedent is Michael Kenna, who has a tendency to take beautiful night-time shots. These shots of the relatively mundane become special through his photographic vision. He doesn't portray destruction, but endeavours to present the spaces beautifully and simply. Longer exposure night shots tend to show a very odd but fantastic light play.
Charles Bridge, Czechoslovakia, copyright Michael Kenna
Ratcliffe Power Station, UK, copyright Michael Kenna
His black and white photos portray the places in an unusual light, since a lot of them are also taken at night, so the light is a lot different to how it would diffuse during daytime. Like Eugene Atget, he tends to portray things as they really are, without adding too much emotion or story to them. The power stations however are given a certain gracefulness which isn't evident in them normally.
My final precedent for this project is Neil Pardington. He takes an interesting set of photos. A lot of them tend to have an in-your-face feel about them, and feel almost slightly oppressive in the way they are taken. The eye is not allowed to wander around very much, it tends to be directed towards a single point, which has a very controlling feel to it.
Tunnel #4, copyright Neil Pardington
Pool, copyright Neil Pardington
Again, like my other precedents, Neil Pardington has a tendency to present things as they really are, without trying to introduce too much of a narrative. His work relies heavily on greys, which also conveys the purpose the industrial and functional spaces have.
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