Slices of life

Richard Sil­ver jux­ta­poses sliv­ers of time to cre­ate fas­ci­nat­ing im­ages of whole days at fa­mous land­marks

NPhoto - - Over To You -

I’ve been shoot­ing for over 25 years, so way be­fore dig­i­tal. I took some photo classes in High School and over the years I’ve taken many night classes too. Once I moved to dig­i­tal pho­tog­ra­phy, my first cam­era was a Nikon – it was a Coolpix. I stuck with Nikon as I really felt com­fort­able with their bod­ies and I have since up­graded at least four times; I’m now on a D810.

The time slice se­ries started in 2011, in New York, like many of my other se­ries. I would go out about an hour be­fore sun­set and pho­to­graph iconic NY build­ings, with the in­ten­tion of making a book. The book would have had pages that fold out and show the chang­ing of light at sun­set from day to night. I shot 38 build­ings for the book, but when I re­searched how much this type of book would cost, it was as­tro­nom­i­cal and that idea was gone. But hav­ing all of those pho­tos I came up with the idea of slic­ing them to­gether.

I saw Stephen Wilkes’ se­ries ‘Day to Night’, in which he shoots all day and takes over a thou­sand shots and blends them into one shot show­ing the tran­si­tion from day to night. That se­ries in­spired me to try and do some­thing of my own. This se­ries has been very pop­u­lar on the web, and I did

see other pho­tog­ra­phers take it to new lev­els making round im­ages (us­ing land­scapes, not cityscapes like I shoot) and they were fan­tas­tic.

When I started this se­ries I still had my Nikon D300 and used a Sigma 10-20mm lens. Nowa­days I shoot with a Nikon D810 and mostly use my Nikon 24-70mm f/2.8 lens. I have a num­ber of dif­fer­ent tripods that I use de­pend­ing on if I’m in New York or trav­el­ling. One of my favourite ac­ces­sories for th­ese shoots is my wire­less re­mote. I keep my cam­era a few feet away from me and ar­bi­trar­ily take shots. I usu­ally take around 50 to 60 pho­tos for a time slice, and edit them down to 36 for the fi­nal im­age.

Scout­ing out my lo­ca­tion is really im­por­tant. Some­times peo­ple think they can walk up and start tak­ing pho­tos wher­ever they want, but I find that is far from the truth. I al­ways try to work out the best lo­ca­tion to shoot from, and the best an­gle, and I give my­self ex­tra time to set up my tri­pod, making sure it’s le­gal to shoot if I’m on pri­vate property. On a few oc­ca­sions I couldn’t shoot where I wanted to be­cause it was con­sid­ered pri­vate property and/or I wasn’t al­lowed to use a tri­pod on the premises.

The web is the best place to look for iconic build­ings be­fore I travel any­where. I also look in my book of 1000 Build­ings to See Be­fore You Die. I re­search my des­ti­na­tions for their build­ing land­marks be­fore I go. With most big cities it’s easy to choose at least one build­ing to shoot, but in smaller cities there might not be a land­mark build­ing, so I some­times have to think about other shoot­ing struc­tures like bridges.

Scout­ing out my lo­ca­tion is really im­por­tant… I al­ways try to work out the best lo­ca­tion to shoot from, and the best an­gle

01 Colo sseum, rome Nikon D800, Nikon 24-70mm f/2.8G ED, shut­ter speed varies, f/11, ISO200

02 Houses of pa rliam ent , lon don Nikon D800, Nikon 24-70mm f/2.8G ED, shut­ter speed varies, f/16, ISO200

03 03 New york sky­line Nikon D800, Sigma 70-200mm f/2.8 EX DG OS HSM, shut­ter speed varies, f/11, ISO200

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