I was first introduced to the work of Stephen Wilkes during a GMU Artsbus trip to New York
City, specifically at the CLAMPART Gallery in Chelsea. The photographs were huge (most
around 40 x 80’’) Digital C prints of a collection of images captured with a large format (4x5)
view camera shot from a cherry picker at various locations in New York City. Wilkes combined
several images photographed over a 12-15 hour time frame, and then combined them into
one print, blending the scene from day to night (the title of the project). This was the first time-
lapse photography I’d seen in a single print. These images were so sharp and the color so
vibrant, that I was instantly drawn to them. This experience led me on a journey of discovery.
City, specifically at the CLAMPART Gallery in Chelsea. The photographs were huge (most
around 40 x 80’’) Digital C prints of a collection of images captured with a large format (4x5)
view camera shot from a cherry picker at various locations in New York City. Wilkes combined
several images photographed over a 12-15 hour time frame, and then combined them into
one print, blending the scene from day to night (the title of the project). This was the first time-
lapse photography I’d seen in a single print. These images were so sharp and the color so
vibrant, that I was instantly drawn to them. This experience led me on a journey of discovery.
I had to know who this was and how he was able to do what he did. Naturally, I began by
researching Wilkes and his work, which was quite diverse, but always wonderfully executed. I
began by looking into the process of his Day to Night project, and was inspired to try
something similar (though perhaps not as ambitious as to sit still for 12 hours). I had not seen
or heard of anyone doing this type of work using a large format camera and can only imagine
the file size and computer memory involved in capturing hundreds of large files. I later learned
that his prints were “C” prints, which I knew nothing about. "This is a photographic Type-C
print made from a digital file which is projected using an extremely fine laser to expose
traditional Type-C photographic paper. The paper is then developed in traditional darkroom
chemistry. The result is an amazing true photographic print that is unsurpassed in sharpness,
color accuracy and reproduction of detail while achieving the ultimate in image fidelity".
(http://aandi.com/faq_header.html)
This is a process I hope to experiment with myself.
researching Wilkes and his work, which was quite diverse, but always wonderfully executed. I
began by looking into the process of his Day to Night project, and was inspired to try
something similar (though perhaps not as ambitious as to sit still for 12 hours). I had not seen
or heard of anyone doing this type of work using a large format camera and can only imagine
the file size and computer memory involved in capturing hundreds of large files. I later learned
that his prints were “C” prints, which I knew nothing about. "This is a photographic Type-C
print made from a digital file which is projected using an extremely fine laser to expose
traditional Type-C photographic paper. The paper is then developed in traditional darkroom
chemistry. The result is an amazing true photographic print that is unsurpassed in sharpness,
color accuracy and reproduction of detail while achieving the ultimate in image fidelity".
(http://aandi.com/faq_header.html)
This is a process I hope to experiment with myself.
In an interview, Wilkes said his favorite photo of the series is the one of the Coney Island
Boardwalk, so this lead me to read about the history of the place, and it’s attractions. I learned
that it’s actually called the “Riegelmann Boardwalk”, and that it was built in 1923. So then I
wondered what else happened in 1923. I discovered that Time Magazine was launched, the
explosion of recordings of African American musicians including the great Louis Armstrong,
and the birth of Charlton Heston were among allot of important historical events.
My own personal favorite image from the photographs I saw at CLAMPART was the image of
Central Park. So this of course had me curious about the history and significance of the park. I
discovered that Central Park was the first landscaped public park in the United States! I never
would have known that if I didn’t do this project (my interest would not have been sparked).
I then came across some interviews that Stephen Wilkes had given where he speaks briefly
on some important experiences in his career. One he mentioned stands out above the rest.
He recalled speaking at a young age with Robert Altman, a Life Magazine photographer.
Altman gave Wilkes some advice saying, “If you want to be a great photographer, you better
understand what the world’s about. Because if you don’t understand what the world’s about,
your pictures won’t speak to anybody”. (http://www.youtube.com/watch?v=YA1JhX89irE&feature=player_embedded)
This motivated Wilkes, and he ended up completing a
dual degree (in photo and business) at Syracuse University’s Newhouse School of Public
Communications. The advice that Altman gave Wilkes resonated with me, and I then had to
look him up as well. I discovered a whole body of work that I had never seen, which further
provided inspiration.
I then read all about Wilkes’ projects including his Walmart time-lapse video, his ad campaign
for Amangiri Resort, in Lake Powell, Canyon Point, Utah. I came across his work covering the
victims of Brnard Madoff's financial fraud, which lead to more research into that topic. Then I
learned about his Worldcup shoot, his Ghosts of Ellis Island project, his work for Time
Magazine covering the Deep Water Horizon cleanup effort, and his series “In Katrina’s Wake:
Restoring a Sense of Place”. Each one of these projects lead to further reading and expanded
curiosity as well as a fresh source of inspiration. Without having to do this project, I would not
have dicovered the work of other photographers, learned such wonderful history, and been
inspired to push harder, learn more, and to grow as a photographer.
