Light in the Blue Hour (2024) is a spectacular photograph of the Brooklyn Bridge at night. The atmosphere within the photograph is strong while also showing restraint – the stone towers of the bridge are positioned within the photograph to look as though they are towering and standing and imposing over city and bridge. The American flag, above, is flying gently above it while the light highlights it quietly and pours out of the towers arches guiding the viewer towards the tower.
The bridge seems to be lit up in a way that seems to be sharp yet not too exaggerated while also giving clarity to those driving at night contrasting greatly against the dark skies. It looks as though the sky is absorbing the light from the bridge rather than being confined to the background- it is active and absorbs the illumination. Furthermore, the city, New York City, within the background is quiet and in solitude escaping the tourist view of grandeur and activity- it is sleeping instead.
Tone, Shape, Texture (2025) presents a single rose which showcases its luminosity against the textured wall and the narrow leaves which add more darkness against the rose flower. This luminosity against the darker elements implicates the contrast while yet also showing how every element has been controlled yet the rose, despite not dominating the whole composition, takes our attention instead due to the sudden change of light.
Inferring from the title- the composition relies on tone, shape and texture- the flower is carved out of light. It is soft yet also dense while being accentuated and pushed upwards by the dark narrow leaves surrounding it. The leaves seem to pressure the flower which retains it within the viewer’s gaze while also keeping it contained. Due to these elements- the photograph feels as though it is full of colour despite being monochromatic. The texture of the wall is rough and brings a grounding and a granular feeling to the work. From the chaotic leaves to the calm flower- the contrast is great and creates a rhythm to the composition.
Two Women (2024) seems to be a conversation of modernity and antiquity as one woman is living and one has been carved in marble. The living woman in the composition has her eyes forward, dark hair tucked back and a hoop earring standing in the same alignment as the marble woman. Their expressions also echo each other yet only lightly.
The resemblance is not exact but it also seems as though it is not supposed to be exactly similar- rather more about adjacency. Yet, both of them face the same direction and under the same gaze. The sparseness of the title invites the viewer into a much more deeper attention to the image. It could be interpreted as not just two faces but rather how our identities, appearances and permanence are framed through time.
The softness in the focus on the statue helps to enhance the material difference; however, this doesn’t diminish her. Rather it helps to draw attention to the precision in which the living woman is seen- the details of real skin rather than sculpted marble. There is no glow or anything else added- she is herself in the present and not imitating the statue which makes the image stronger.
A Horse of A Different Color (2005) showcases three horses that are standing close together with their bodies overlapping a tight natural composition. From the centre of the composition a chestnut horse is leaning its head gently on the back of one of the white horses. Looking outwards from there; we see that the chestnut horse is surrounded by the two white horses and thus has become the main contrasting element of the work.
The arrangement of the horses doesn’t seem staged but rather observed. Thus we can see this through the chestnut horse looking tired and having its eyes half-closed while its head is drooping slightly. It doesn’t attempt to stand out but rather rest peacefully. Concentrating on the two white horses- they are both turned in the opposite direction of the white horse; the white horses allow the chestnut horse to rest on them. It is possible that all of the horses are resting yet it is up to the viewer to decide as the photograph does not wish to explain and rather have the viewer become the observer.
Leaves on Asphalt (2024) is a photograph of a moment that we usually pass by without glancing or thinking much of. Thus, we are brought into this moment where we are inclined and encouraged to think of the moment rather than moving by. There are two leaves on the floor resting against the gritty surface. The placement of the leaves are casual and natural- yet we are invited to find something meaningful from their quiet presence.
The scene is monochrome which helps to exemplify the details of the two leaves; without colour to guide us- we are drawn to the textures and tones of the objects within the photograph. The leaves have brittle veins and are lighter contrasting with the surface which is gritty and eroded. Furthermore, there is contrast, not only in surface texture and colour, but also within the fact that one is organic and the other inorganic.
Another organic element within the photograph is the lichens (or perhaps could potentially be something inorganic if it is not lichen) erodes the pavement and brings it closer to the natural world over time.
Overall, all of the photographs showcased in the publication by Andrea London show great contrast. Each image is a moment that is noticed- and brings the viewer into their presences. Rather than being a spectacle they are observations which are brought to our view with care rather than insistence.