The architecture of musical instruments in the photographs of Charles Brooks


It is a visual effect, of course, but also a mechanism that deals with the psychology related to photography. “Yes, I have always been interested in the psychology of photography. The ability of a single frame to freeze a moment, take it out of context and present it as something new. Of course, despite using very advanced lenses, I had to solve big technical problems. In piano shots, for example, I had less than half a centimetre of sharpness before everything started to blur. I overcame this problem by taking hundreds of photos, slowly moving the focus from the back to the front, and finally combining only the in-focus parts in Photoshop.”

It is a complicated process, which goes into the details of the image, on the border between the limits of technique and the need to create a perception. “For me, the interesting thing,” the photographer concludes, “is that since I was on the scene, I had entered very deeply into the shapes of the instruments, so the visual effect no longer worked for me. It seemed to have broken down because of my over observation. I no longer perceived the spaces as large. I had to show the photos to others to prove that the system had worked.”





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