I don't know what world it's from...most likely, I was disconnected from the big reportage wave for a while, since there are no such graphics there. This is something from the frequency of courtyard spaces, which is not present on the reportage wave, which is probably why I stopped filming them.
Sometimes it seems to me that the previous big creative wave was somehow more sincere...
I do not know what to call the previous big wave, but let's speculate!
Then I photographed night yards, contrasting deep streets and graphics.
And there was no reportage message.: I did not think about further publication in the media space.
I got into the space, explored new places and received some information from them in the form of a code of sensations.
It was important for me to capture not the place itself, but its spirit.
I searched the spaces for places where I could feel something vividly, stopped there and took pictures.
Now I would be looking for something in the same yards that would characterize the night yards as a fact - this is already a reportage.
But to this day, I photograph dugouts in exactly the same way as night yards – the feeling of the place is equal to the frame.
That is, the only thing that doesn't fall under the reporting right now is the night cellars.
...The night graphics of the city, it turns out, were made on the frequency of night yards and dugouts.
Even on the last big wave, I shot a spotty street (or multi-detail).
This series of pictures also has this principle.
Or maybe there was nothing at all before the big wave of reporting?
I just took pictures as I saw them and didn't think about anything.
Still, I would call the last big wave graphic.
I clearly remember when I switched to graphics, and since then I've wanted to capture everything graphically and spotty.
Even the night courts had a focus on graphics.
And so, first I had the landscape wave, then the graphics wave came, and then I joined the reportage wave.
And in all these waves, I have always photographed in several genres.
But it turns out that sometimes I can switch between big creative waves!
But I don't notice it myself.
This happens, by the way, when I take pictures of puddles with neon reflections.
Or natural monotonous graphics. As I said, there are no clear boundaries, but the obvious manifestations of one or another big wave can be traced.