INSIDE THE OUTSIDE
By MICHAEL PERKINS
IT’S HARD TO ATTRACT ATTENTION IN HOLLYWOOD, a town that shouts in five dimensions, a million colors, and four thousand decibels about almost everything. Here, in the town that hype calls home, design always swings for the fences, and Subtle Is For Sissies. Small wonder, then, that photographers, who typically love to play top this with their peers, find that Tinseltown and greater L.A. are already at gold medal status in playing the very same game. I’ll see your weird, and raise you two weirders.
As a street shooter in Hollywood/L.A., you routinely witness the bizarre being passed off as the normal. As a consequence, the very act of visually commenting on this mad sensual overdose can make even your most prosaic shots seem like a trip through the looking glass. Words like stately, venerable, or traditional seem oddly out of place in the town that invented fourteen-story billboards and the Walk of Fame. Using a camera to say something new about it all can be a fool’s errand, or at least, a mental obstacle course.
Whenever I visit Los Angeles, I am constantly looking for some kind of reversal pattern, a way to treat the most outrageous visual artifacts on their heads. I don’t always succeed. I did, however, have fun trying, recently, to come up with a new way of seeing a very strange building, the Peterson Automotive Museum, located at the intersection of Wilshire Boulevard and Fairfax Avenue, the outside of which has undergone a very radical facelift in recent years. From afar, the building seems to be a wild, untethered series of curves and swoops, a mobius strip of red and steel spaghetti floating in space in an abstract suggestion of motion. It’s a stunning bit of sculpture that actually is a wrap-around of the original, far more conventionally-shaped museum building beneath it.
And, as it turns out, that’s the way to reverse-engineer a photo of the museum, since it’s possible to walk behind the swirly facade and into a shadow-and-color-saturated buffer space that exists between it and the underlying structure. From inside said space you can view the outer bands as a peekaboo grid through which you can view neighboring buildings and local traffic, rather like looking between the slats of some big psychedelic set of venetian blinds. And that’s where I stood when taking the above shot with a Lensbaby Composer Pro lens with a fisheye optic, the aperture set at about f/5.6 to render the whole thing somewhat soft and dreamy. I’ll see your two weirders and raise you one bizarre.
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