Maxime Brouillet, architectural photographer
Representational system of photography is identical with that of classical painting, both depend upon the camera obscura.
The perspective is always “with one only vanishing point”, but the image is cropped so as to decentralize the positioning. Perspectives made in this way gives a sense of dynamic space, the eye runs towards the vanishing point and the weight of the image becomes unbalanced, a condition which was attractive to artists who were beginning to think about a new, non -static idea of space that would lead to Baroque and late Baroque compositions.
A new variable: the rotation of the plane of projection. The world is changing its image. It is possible to maintain, perfectly undisturbed, the already existing conditions, as long as the eye does not look over a wall, or at a compositional axis, but looks toward a corner, then something extraordinary happens: the vanishing points become two, the space becomes faster, and the calm, reassuring symmetry of the Renaissance is overtaken by the complexity of space in the Baroque era. If, then, architecture is conceived as a composition of volumes that do not necessarily follow rhythmic and axial compositions, if space is no longer marked by the constant repetition of parallel planes, then looking in a corner is a good way to obtain a lot of information and capture the essence and articulation of those volumes.
Fabrizio Avella, Architectural Rendering
Victor Burgin, THE CAMERA, Essence and Apparatus