After being stuck inside for two days, we were all getting cabin fever, so some friends and I decided to head out to Manhattan. The trains had already been down for two days, so that wasn’t an option. The only way we could get there was by walking. As soon as we crossed over the Williamsburg Bridge is when we first saw the signs of the devastation and power outages.
Knowing I needed to get my camera and record what we were seeing, we walked to Times Square so I could get my gear from the MTV office. It was so strange to see the area lit up like nothing had happened, while everything south of 26th street was completely dark. After we ate, we were anxious to get back down to the darkness and begin snapping photos.
With all of my landscape images, I rarely include people, and these images aren’t any different. The lack of power soon became the focus of the images. Many of the locations we went to were places I had been many times before, but I was curious to see how they had changed without their normal lighting. Without any street lamps or light from buildings, the only light came from cars and emergency vehicles. It was incredible to see the colored lights from them and how they illuminated the buildings without any interference from other light sources.
As I began editing the photos, I was concerned that I didn’t have enough pictures of real devastation, and that the series wouldn’t really tell the whole story of the wrath of the hurricane. But I realized that this work was less about documenting devastation and more about the surreal world that this unique situation created.—Colin Gray
Colin Gray is an editorial photographer based in New York City. Since graduating from the Savannah College of Art & Design in 2004, Colin has shot for many major publications. Recently, he has been working as a photographer and photo editor for VH1 and MTV.
This post was contributed by photographer David Strohl.
Axiom & Simulation examines the ways in which humans quantify and explore our surroundings by comparing artistic, scientific, and digital realism.
As a developed global culture, we are constantly transforming physical space and objects into abstract non-physical thought to gain a greater understanding of composition and the inner workings of our surroundings. These transformations often take the form of mathematical or scientific interpretation. As a result of these changes, we can lose all reference to the source: when the calculated representation is compared to its real counterpart, an arbitrary and disconnected relationship is created in which there is very little or no physical or visual connection resulting in questions of definition.
Take for example a three-dimensional rendering of a mountainside. While observing the rendering, it holds a similar form to what we see in nature but has no physical connection to reality– it is merely a file on a computer that has no mass and only holds likeness to a memory. When translating the rendering into binary code, we see just 1’s and 0’s – a file creating the representation from a language composed of only two elements that have no grounding in the natural world.
After all of these transformations, a new reality is created – one without an original referent, a copy with no absolute source. When comparing these simulations and interpretations of our landscape within a single context or picture plane, ideas of accuracy, futility, and original experience arise.
Mark Dorf currently resides in Hudson, New York where he creates his images and continues to study the fields of photography and contemporary art.
This post was contributed by photographer David Strohl.
Patricia Clarkson
Adam Kuehl was born in Oak Park, Illinois. After obtaining a B.F.A. in photography from the Savannah College of Art and Design in 2005, he began working for the university to produce award-winning look books, national ad campaigns and other special projects. He continues to work for the SCAD while pursuing an M.F.A. in photography.
Famke Janssen
Hugh Dancy
How do you come up with a concept for the shoot?
‘All of these portraits were shot during guest visits to the Savannah College of Art & Design (SCAD). Before they arrive, I’ll do research on what they’ve done in their careers along with what angles work best for them or what’s potentially a new angle. Their itineraries usually determine when and where they have time during their busy visit. But SCAD is full of amazing facilities saturated with student-made art, furniture and props, so sometimes I’ll start with art and build the concept from there.
‘Once it’s styled, I have a pretty clear idea of what I’m looking to capture, but almost every shoot has some sort of surprise. Malcolm McDowell arrived wearing something that completely clashed with the busy wallpaper, so I focused on a headshot. I never know what they’ll be wearing, so I’ll come up with a few quick options for each location. I have a green screen setup just in case.’
Malcolm McDowell
How much planning goes into the shoot and how much is improvised?
‘I usually only have three to five minutes to shoot each portrait, so there’s a production phase. But sometimes improvisations work out for the best. I found the crown that Marina Abramovic wore in her portrait only a couple minutes before the shoot. I’ve also found that actors often improvise if the set allows them to do so. I usually give them a starting point and let them do their thing. I think it makes them more comfortable.
Marina Abramovic
Hamish Bowles
Any good stories behind any of the images?
‘It’s always interesting to see how each person reacts to the set. The portrait of Ray Liotta was one of my first frames. It’s his initial reaction to the painting by Russ Noto, SCAD MFA Painting 2012.’
Ray Liotta
James Cromwell
Liam Neeson
Isabell and Ruben Toledo
This post was contributed by photographer David Strohl.
