Higher Perspectives {Text}

John Pfahl, an American photographer, has produced a series entitled Picture Windows, in which he travels around the United States of America and captures the images already held in the lenses of the window’s ever present camera. The idea, intrinsically intriguing, inspired me to continue the basic process, and take my own window pictures. But, as I contemplated what windows to use it occurred to me that Pfahl never took more than one picture from the same building. This immediately started my own series, which I title Higher Perspectives. As John Pfahl’s images serve as proof for his opinion that in such a beautiful world as ours every view is worth capturing, my images serve as metaphors. With the complete knowledge of the metaphors intended I produced six images from six different ascending levels of the Gould-Simpson Building on the University of Arizona Campus. Creating the idea that the higher you place yourself in your outlook (represented by the increasing physical height) the larger your grasp of reality and life will be (represented by the furthered extent of campus and Tucson that one is able to see). Just as more of the physical world can be seen when one ascends physical heights, so can more of life and reality be seen from ascending broadened perspectives. ~Sarah Wuthrich

2) As I attempted capturing the idea of the most limited view, it seemed only right that there be interference in the windows, which are in fact the doors to the building. Therefore, in this image, it is implied that when one has such a closed mind factors such as other people are able to interfere with what can be seen of the world, how very little that is.

4) The 4^th floor of the Gould-Simpson Building has an extension which blocks the original sights of the 2^nd and 3^rd floors. I found this to be symbolic of the fact that when one wants a new view it is often times better to completely disregard the previous view they had and only look up. This floor represents the first step one should take in reaching for the highest perspective. Also, it is important when one makes this step to remember that there are higher perspectives to achieve, which is represented by the top of the palm tree reflected in the table, reminding you that you haven’t reach the full height yet. 

 

5) Almost half-way to the highest perspective, this image represents how and why it is so often easy to stop before the goal is reached. With the ascension of one story in the Gould-Simpson Building so much more is able to be seen, the top of the palm tree and buildings come into view. Also, at this point it is safe once more to reflect on the old views, the more close minded ones, which is represented by the presentation of the sidewalks and roads in the photo. It is important though to remember that one still has so much more to see, represented by the Administrative Building, which has been up to this point unrecognizable, but now, however recognizable it would be, it is blocked by the bars of the windows and one must climb higher to see it all. 

6) The 6^th floor of the Gould-Simpson Building has by far the most foliage blocking the view, which I interpreted as meaning that once one passes the half way mark the world is going to start noticing the difference, and they’re going to try to disrupt your continual climb to higher perspectives. It is important at this level however to see around their distractions, and notice that the Administrative building can now be fully viewed. Don’t let the foliage sway your vision, you can see more now than you could ever before.

9) Before one reaches the highest perspective it is often necessary to stop and realize how far they’ve come. On the 9^th floor the roads, on level with the 2^nd floor, are one more in sight. The tops of other buildings are all beneath this view, showing that one has surpassed all other heights. The mountain range, only barely visible on previous levels, has entered view in a full third of the image, but after coming so far one cannot be content with only seeing the furthest reaches of vision in only a third of their perspective, and thus another, and the final floor must be ascended.

 

10) {The quintessential image for the 10^th floor would have had no foliage, however I was unable to remove the plants.} The final, highest perspective, represented by the 10^th floor of the Gould-Simpson Building encourages everyone to strive for this level. Mount Lemon, the mountain in the farthest reach of the view is fully included in two of the three window panels, and the other shows the same building that has been visible in all the images, ideally for comparison with the limited views one once had. The University of Arizona and Tucson are fully visible for miles upon miles. In life and reality views like this have the most satisfying and optimistic results, unalterable by outside influences as in the lowest perspective, and continued always without any other obstructions [once again, disregard the foliage on this floor].

Higher Perspectives {Images}

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Texture

Shoes have a wide range of variety not only in texture, but in the amount of texture one shoe can have. My little worn down red sneakers were manufactured with many textures, but I found the textures created with wear more interesting. The top image shows how the shoelaces over time have become worn; the threads are starting to break, creating shoelaces that have more "bumps" along the way. Secondly, the bottom image shows the texture of the worn out soles of my shoes. If studied it can be assumed, through the varying textures from the right diamonds with all of the original fibers to the left diamonds worn down to the plastic, that I have a high arch in my foot, which is true. The way I walk and the shape of my foot have been able to create a different set of textures in an area that, when purchased, was uniform. The middle image is the only one that really interested me in the original texture of the shoe. The "canvas" style of sneakers are known, of course, for their canvas texture, displayed in this image.

Lines

Every pair of shoes has a set of lines of some sort, whether it be the line around the sole or the stitching across the back of the heel. These three examples of lines on my red sneakers provide examples of the three roles lines can play. The top image displays structural lines, these lines around the bottom of the shoe are part of the shoe's composition, usually added for style. Shoelaces can also be seen as a functional line, but in the middle image the bottom lace as well as the red stitching underneath create a pattern of horizontal lines, which breaks up the shoe's pattern of curves and diagonals (seen in the top laces and the curved edgings leading into the horizontal red stitching). The bottom image exemplifies a directional line, leading the viewer's eye from the top left corner of the image to the bottom right, right along with the curves of the shoe.

Balance

With a pair of shoes as the photos' subject, balance is a relatively easy technique to employ. One can see that it is simple to have a symmetrical balance, as displayed by the middle photo, since the two shoes can "reflect" each other so well. It is for that reason though, that I provided two asymmetrical images of the shoes. The top and bottom images show the shoes not in a perfect "reflection" or perfect symmetry, but rather the photo has that sense of balance in a way that the two shoes, without complimenting each other, complete the image as a whole.

Lighting

These photos, taken on campus during our class designated time, explore the ideas of lighting, and the differences lighting can make when it comes from different angles. The top image shows the light (which is, of course, natural sunlight) coming from an angle perpendicular to the main object, the leaves. This lighting creates an image in which the leaves are seen as they most often are presented in nature, with shadows falling from the tips and colors left to stand on their own. The middle image uses the sunlight as a back light, shining through the leaf. The many colors of the leaf are visible, as well as the veins. The third image uses the light as a juxtaposition to the leaves and creates a frame around them. This lighting angle creates shadows over the whole subject and hence discards the leaves' colors and emphasizes their shape.

Photographic Perspectives