Week 6

This week, the photographs of David Hilliard resonated with me a  lot.

Right off the bat, they have a unique format. They are panoramic, but not in the traditional sense: they are really more like diptiks, triptiks, and upwards (all the way to seven or eight in some cases). Different viewpoints of the same scene sit side by side or on top of each other to complete the photograph.

All photographers represent something that exists in the world; they present something to the viewer that was first presented to them. They RE-present it. Whether it be studio photography with light setups and actors or street photography or landscape photography - it is always a representation. What I think is relevant about Hilliard's photos is that this representation is more lifelike than a standard photograph. They present the same scene to us but at different angles of the same view, and sometimes, at slightly offset times. The picture below demonstrates this.

 The man's arm is at his hip on the left, but on the right it has moved (or been moved from?) the side of the house.

Looking at Hilliard's photographs is a little like being there with him. It is like looking out of one's own eyes. When we are experiencing something in real life, we move out eyes around, turn our head, and take in the whole scene in a few seconds. This is the experience that I get when looking at one of Hilliard's panoramas.

I also can't help but think of practically the only other experience I have had with panoramas: the iPhone pano. I know that Hilliard's work is not a direct response to this because his panoramic style predates any cell phone with that capability. Nonetheless, it is satisfying to see this technique done professionally. There is deep thought and consideration in Hilliard's panoramas. They are a joy to look in and look into. And, of course, the quality is much richer than a phone camera shot!

Many, if not all, of Hilliard's photographs have a narrative quality to them.

This always adds to the impact of a photo. It makes the viewer want to figure out what is going on, makes us ask questions and contemplate what we are seeing. Everyone loves a good story, and with photography is can not always be deciphered easily. As for the above photo, I see a couple enjoying a lazy (and romantic due to the roses, candles, and of course, nudity) summer afternoon in what appears to be a cottage. One has fallen asleep by the fire while the other quietly reads a book by the window. Very peaceful.

Others are not so clear.

I suspect that his photographs mainly function in the context of their collection, or series. As with his collection The Tale is True, some photographs tell a more explicit tale, while others serve as punctuation; a breath or pause from the story. I am fond of the photograph above because I can get lost in this place by going deeper and deeper into the space. While I cannot determine what narrative it contains (if any), I find it interesting to look at because of its peculiarity. What's with the castle in the middle of nowhere? Is this truck unloading or picking up the junk, or is it part of it?