Crewdson and his studio used to build entire sound stages for his productions. He begins the process with color film, taking multiples of a single scene. Each morning, the photographer wakes up early to travel to a picturesque and remote pond in the Berkshires, accessible only through the Appalachian Trail. ", Crewdson continued, "In good times, my life feels very chaotic, so I always look to art for not only clarity, but refuge. He continued, "You don't really go too far. What Is the Best Strobist Off Camera Flash for New Photographers? You can of course process and scan film at home if you wish. The photographs are then edited during post-production. The scene recalls Crewdson's formative childhood memories of straining to hear his psychoanalyst father's private sessions in their Park Slope basement -- Crewdson's own fulcrum for mystery in the domestic space. Over the course of his career, Crewdson has used hyper-detailed, uncanny settings to descend into his characters' interior lives. Mr. Crewdson was sitting high above in a cherry picker with a loudspeaker and his 8×10 camera. For Gregory Crewdson, Truth Lurks in the Landscape As the artist shot his cinematically constructed images in the Berkshires, he was afflicted by mysterious maladies. In another, a fearful man on all fours is surrounded by drilled holes in the floorboards, pillars of light beaming through each. The work is being exhibited at Gagosian in Beverly Hills, California, until November 21, and an accompanying book will be published by Aperture. He studied from John Dewey High School. He returns to the same places over and over, checking the light at different times of day and in different weather. When an eclipse -- the term for a group of moths -- is attracted to a light source, the insects block out its illumination. Crewdson now uses a Phase One camera, set up like a view camera. He has taught at Sarah Lawrence, Cooper Union, Vassar College, and Yale University, where he has been on the faculty since 1993. That approach is in part because of the nature of his work: large, cinematic productions which require location and lighting teams, as well as coordination with local officials. But Crewdson has known these environments long before he moved to the Berkshires, where he commutes back and forth to New Haven to direct the MFA photography program at Yale. "Why do it otherwise?" It would have been easy to make a more blatant political or socioeconomic statement through "An Eclipse of Moths." "I ritualistically make time during the summer months to do long-distance swims," he said. ", The surreal and sensuous world of photographer Zhong Lin. In his series "Twilight" (1998-2002), the home becomes an untenable site for creeping horror. Utilizing his signature cinematic aesthetic—but applying it to a smaller, more personal scale—Gregory Crewdson’s latest work is as enchanting as ever. "They have different moods and atmospheres, but to me, they're related in different ways, maybe psychological ways. In his last major body of work, ", Gregory Crewdson captures the dark side of rural America. Still, Crewdson doesn't turn a blind eye to the complexities of the settings he chooses. Crewdson’s images at this time were very documentary focused until he saw the film ‘Blue Velvet’ (a murder mystery film based in the heart of the suburbs). "As it turns out, they're weirdly relevant to the moment we're in," he said. Phase One cameras are also phenomenally expensive, so if you want extraordinary resolution, you may want to consider a Fujifilm GFX camera, which are less expensive and just as good as Phase One. He believes those early encounters set in motion the rituals we repeat for the rest of our lives. The figures, small in the frame, appear isolated even when they are together. "I do want to acknowledge the place and the experience of making (the photographs)," he said. The moths, fragile and ephemeral creatures, will eventually disperse. In both shows, the characters confront the darkest sides of themselves, but hope for some sort of redemption. The title for "An Eclipse of Moths" came to Crewdson early on. But long before he assembles his crew, he scouts locations, sometimes for months, driving around while listening to podcasts (mostly pop culture, unsurprisingly many about film). Tim Ives, the director of photography of Stranger Things, has said that the nighttime photography of Gregory Crewdson has “inspired me with its … Recently, his settings have had links to his personal life. Fine art photographer Gregory Crewdson is the king of cinematic stills. Gregory Crewdson’s main camera is a Phase One digital medium format camera. Like a film, he uses a lot of production, a lot of lighting, a lot of set design. The German mind-bending time-travel saga "Dark" was reportedly influenced by his photographs, while its fellow Netflix drama "Ozark," set in the titular rural region, is also decidedly Crewdsonian. Gregory Crewdson is one of the best known and influential fine art photographers working today. Behind the scenes on "An Eclipse of Moths" in Pittsfield, Massachusetts. "If you go back to the earliest or the earlier stuff, it's definitely more hyperbolic, it's more exaggerated, it's more theatrical," he commented. The photographer, Gregory Crewdson, scouted the spot under a Massachusetts railroad bridge for a month, and a crew of about 40 people spent days setting up the shot. ". In one photograph, an Ophelia-like figure floats in her flooded living room, eyes gazing past the camera. The photographs are set in a quiet, dreary post-industrial town -- in reality, Pittsfield, Massachusetts -- with familiar mists from past series creeping into the scenes. "No one could have guessed that.". Though they were shot when distance between people didn't imply a pandemic, Crewdson sees a linearity to the times in which we are living. "That, to me, is central to my existence. Instead he uses Hollywood-sized productions to create perfect moments that feel both inexplicably personal and profoundly cathartic. The work is … ", Crewdson has staged stories of American melancholy and mystery for the past three decades, in claustrophobic domestic interiors, on quiet suburban streets and in disquieting landscapes. Crewdson used 210mm or 300mm lenses, which on the 8×10 format works out to be 27mm lens and 39mm, respectively. My pictures have the advantage of having no before and after. Previously he used a large format Sinar 8×10 view film camera with a 210mm lens. However, it may be difficult to find a lab that can process and scan 8×10″ film near you for a reasonable price. The large-format camera helps capture all the detail for his huge 7ft gallery prints. So you just continue the circle around these preoccupations, these obsessions ... and every time you make a picture, you get one step closer to knowing what it is. "Whatever story that a still photograph can produce is limited," he said. So whatever story they tell remains a question or a mystery. The closest film Kodak makes to the Portra NC films to this now is the new Portra 160. which is still available in 8×10″ format. Crewdson finds his inspiration from the works of director David Lynch (Elephant Man, Blue Velvet – he claims that this film has changed its vision of the world), Alfred Hitchcock, Edward Hopper and Diane Arbus. The peculiar photographic opus of Gregory Crewdson is inclined in the mysteries behind the porch or closed doors of idealized American suburban homes. 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