 |
| Marine, 1964 Photograph by Julian Broad. |
The notion of originality in photography is a widely debatable subject. Nowadays when we have so much access to TV, film, and art it is hard to tell if an idea or concept is in fact original or whether it has stemmed from another body of work, be it consciously or unconsciously. Everyone has originality even when copying work, the setup of the image, how you chose to shoot it and even light it is your own work even if the desired effect is to mirror another image. The work that I find inspires me the most is when photographers knowingly pastiche work and add their own individual twist to the subject. An example of this I have drawn is from The 2008 Hollywood Portfolio of ‘Hitchcock Classics’ in Vanity Fair. In this shoot photographers took iconic moments from the directors greatest hit movies and interpreted then into images that they believed represented the scenes.
 |
| Dial M for Murder, 1954 Photograph by Norman Jean Roy. |
 |
| Rear Window, 1954 Photograph by Norman Jean Roy. |
 |
| Rebecca, 1940 Photograph by Julian Broad. |
 |
| Strangers on a Train, 1951 Photograph by Art Streiber. |
 |
| Vertigo, 1958 Photograph by Jean Roy. |
 |
| Lifeboat, 1944 Photograph by Mark Seliger. |
 |
| North by Northwest, 1959 Photograph by Art Streiber. |
 |
| The Birds, 1963 Photograph by Norman Jean Roy. |
 |
| Psycho, 1960 Photograph by Mark Seliger. |
