Urban Noir Magazine, Issue 1 - Pgs. 9 & 10
Page spread from Urban Noir magazine (Issue 1 - September 2011) featuring model Molly Noelle Graham (MM#2218021). Hairstyles, makeup, and talent management by Lara Graham. Photography, graphic design, and writing by Will Stotler (MM#1338163). This was an experiment in developing a coherent, modern magazine design from scratch.
Text from this spread follows
VANISHING POINT (cont.)
in this single point. When the vanishing point is out-of-frame, often leading lines are still moving to the vanishing point, but they function in a two-dimensional fashion, flattening the image.
In many 1920s German Expressionist films—and later film noir works—the sets were manufactured with a strongly forced perspective, intentionally compressed to suggest paranoia, claustrophobia, and a heightened unreality. The compressed sets with their clearly artificial leading lines—and camera angles to accentuate the compression—were a staple of the look and genre.
I cannot build dramatic, forced-perspective sets in the city, but I can force the city into a dramatic perspective to frame my subject. If done correctly, the work accentuates and reveals architects’ unseen compositional grids that define the surface of the architecture—the unique fingerprint of the engineered, mathematical grid that each building possesses.
Through perspective, the photographs reveal the linear grids flowing through the architecture
(continued on page 11)
Caption: The vanishing point is behind Molly Noelle Graham: a semi-opaque reflected sky, revealing an opaque vision or dream behind the model, is sublimated.
Caption: Strong leading lines in the architecture—the wall and the skyscrapers—reveal and paint a grid that lead to Molly Noelle Graham, revealing a state of mind that is one half manufactured and gridded and one half featureless, smooth, waiting for the future that is unwritten—with an underlying, hidden rhythm.