09 January 2022

Portfolio - Architecture

 

Shinyeong Cinema, Gangneung

The Miracle on the Han River is the name for Korea's rapid modernisation and economic development after the Korean War and the following few decades. If you go to some cities now you can find large, impressive skyscrapers. In the same cities and in rural areas you can find beautiful traditional buildings that have been restored and well-maintained. 

But you can also find narrow alleys and crumbling neighbourhoods that never got a makeover. Behind brand new apartment complexes with all the latest smart technology are abandoned farm houses with missing doors and windows. On a street next to a multiplex building is a tiny shop in a building with flaking paint and big pipes running down the side. It's those kind of places I usually look for when out with a camera.

My Architecture Portfolio includes new and old buildings, as well as things like fences and city infrastructure. I'm not sure 'architecture' is the most accurate name for this portfolio. Perhaps someone will have a better suggestion.

You can see this collection at https://flic.kr/s/aHBqjzxCNQ.


4 comments:

  1. Excellent stuff. My favs are View from IBIS hotel room (B&W version, of course ;), Utility Pole, Clock at Bus Stop, West Meets East and Cinema Building but I could spend time on them all, to be honest.

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    Replies
    1. Thanks very much. The black and white hotel window photo was done on iPhone, you'll be sorry to know. :)

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    2. I thought it might have been some sort of digital capturing device, from the look of it. No matter - I still like it. For some strange reason it seems possible to take shots with a phone that rouse suspicion with a 'real camera'. I think that's why I like using the Hasselblad - I'm not raising it to the eye, so I think it appears less intimidating to people, if that makes sense.

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    3. I understand what you mean. Probably SLRs with long zooms on them are perceived to be the most aggressive. Unless it's Bruce Gilden with his flash in your face . . . .

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