Signs №118, Iceland Print

In this album you will find photographs in different styles, but united by one plot: road signs are portrayed here. Why signs? Landscape photography composition is usually based on the contrast of the foreground and background. For instance, a fancy plant or animal can make a good foreground. But for me the ideal compositional counterpoint is a man-made road sign surrounded by untouched nature. The sign does not know the beauty around it, it is functional. And the beholder is thus encouraged to make a step from functionality to contemplation. In an urban environment the contrast between the sign and its surroundings works differently: the signs are transcultural and universal, but the cities around them are not alike. The landscapes of other photographers often feature a human, usually in the form of an obscure figure in the distance. Such choice of composition is an attempt to demonstrate the scale of a natural phenomenon. A road sign also allows the beholder to grasp the scale of the landscape in the picture, but does not divert their attention to decoding the posture and intentions of the depicted figure. The sign can be covered with snow, scorched by the sun or shot through with bullets. It is informative, but impersonal. Road signs are an absolute international language; in this they can only be compared with music. The signs are understandable to everyone, but at the same time they retain the features of traditions and national characteristics. The passion to capture road signs in their natural surroundings, be it wildlife or urban environment, came to me many years ago. I have been taking pictures in 400 cities, in 40 countries, on 4 continents. I physically could not resist making each of the shots that you will find in this album – and this is the main reason for the appearance of signs in my works. I really do love them! All of my photos from this series complement each other, so the purchase of several of them would be a good solution for interior design.