Abstract Photography
Abstract Photography - non-objective, experimental, conceptual or concrete photography, is a means of depicting a visual image that does not have an immediate association with the object world and that has been created through the use of photographic equipment, processes or materials.
What might an abstract photography look like? - Isolate a fragment of a natural scene in order to remove its inherent context from the viewer, it may be purposely staged to create a seemingly unreal appearance from real objects, or it may involve the use of colour, light, shadow, texture, shape and/or form to convey a feeling, sensation or impression.
It's History - Some of the earliest images of what may be called abstract photography appeared within the first decade after the invention of the craft. In 1842 John William Draper created images with a spectroscope, which dispersed light rays into a then previously unrecorded visible pattern. The prints he made had no reference to the reality of the visible world that other photographers then recorded, and they demonstrated photography's unprecedented ability to transform what had previously been invisible into a tangible presence. Draper saw his images as science records rather than art, but their artistic quality is appreciated today for their groundbreaking status and their intrinsic individuality.Another early photographer, Anna Atkins in England, produced a self-published book of photograms made by placing dried algae directly on cyanotype paper. Intended as a scientific study, the stark white on blue images have an ethereal abstract quality due to the negative imaging and lack of natural context for the plants.
What might an abstract photography look like? - Isolate a fragment of a natural scene in order to remove its inherent context from the viewer, it may be purposely staged to create a seemingly unreal appearance from real objects, or it may involve the use of colour, light, shadow, texture, shape and/or form to convey a feeling, sensation or impression.
It's History - Some of the earliest images of what may be called abstract photography appeared within the first decade after the invention of the craft. In 1842 John William Draper created images with a spectroscope, which dispersed light rays into a then previously unrecorded visible pattern. The prints he made had no reference to the reality of the visible world that other photographers then recorded, and they demonstrated photography's unprecedented ability to transform what had previously been invisible into a tangible presence. Draper saw his images as science records rather than art, but their artistic quality is appreciated today for their groundbreaking status and their intrinsic individuality.Another early photographer, Anna Atkins in England, produced a self-published book of photograms made by placing dried algae directly on cyanotype paper. Intended as a scientific study, the stark white on blue images have an ethereal abstract quality due to the negative imaging and lack of natural context for the plants.
Task One
For this task the intention was to capture abstract photographs of a plain piece of off white paper. We could fold it, scrunch it, go in the dark room and many more techniques. Related artists are Brendan Austin, Jaroslav Rössler, Tamara Lorenz and Francis Bruguière. All these photographers capture abstract images from pieces of paper. Indeed, this purely highlights creativity and how far one can go with one piece of paper.
My Response
Selected Photographs
Evaluation
From this task I am glad with the shapes I created, the different textures I made as it gives variety go the abstract theme. Furthermore, I like the different colours of the light as it makes the photographs interesting and eye-catching. Furthermore, the minimal theme that some of my images make my photos pure, on one of my images have a natural reflection which adds depth to the image and additionally making it interesting. Lastly, I like the photographs I took on white paper because it makes the viewer focus on the details of the crumbled/textured and shaped plain paper.
Artist & Me
This photograph was taken by the German photographer Tamara Lorenz. Her work consists of creating various constructions which she then photographs to exploit their abstract properties. This particular photograph highlights layering of different coloured paper, however maintaining the dull tone. As a result of this, the viewer is unable to recognise a particular subject, due to occupation of looking at the photo.
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This is my photograph which I created in the photographic studio. I wanted to make something similar to Lorenz's photograph, therefore I kept in mind the techniques that she used, folding, cutting, using light and camera angles. As a result, I ended up cutting a large piece of creme paper and began folding it, in order to focus on shadows.
There are some differences and some similarities between my creation and Tamara Lorenz's. For example, the differences are the colours we use, I only used one colour, creme, whereas Lorenz used various colours, green, blue, grey and beige. However, the similarities are that we both used the same techniques to create an abstract photograph. |
Task Two:Tate Britain - Painting With Light
David Octavius Hill and Robert Adamson manipulated the light in a way to create focus on Sir David Brewster's face and hands. However, his hands are quite blurry whereas his face is clean and sharp. The background is really dark, making the viewer unable to see it.
Henry Peach Robinson manipulated the light by making it come out of the river as it's the brightest section of the photograph. He printed out the photo on albumen print on paper and combined separate negatives together. This got criticised. The picture's background does contribute to the atmosphere because it's a dark, black and white photograph.
In this photograph, J Dudley Johnson manipulated the light by centring it where natural light is meant to be-from the moon at night. This creates a bright effect as the rest of the photograph is really dark. This is a good real life representation of the night. The photograph was printed on gum platinum, meaning that the print was overlaid with a secondary printing in gum bichromate pigment, here providing a blue-grey tint. This effect does indeed contribute to the atmosphere as it creates a realistic image of the nighttime.
The female photographer Clementina and her work 'Isabella Grace On The Terrace', has a light effect making the viewer see clearly what the photograph is presenting. There are two of the same pictures along each other, the one on the right has less contrast than the one on the left. This perhaps is because Clementina wants to highlight the different times in the day.
Task Three: Abstract Findings Around London
My class and I went around central London (Trafalgar Square) looking out for things that would make an abstract photograph. I really liked this task as it involved using my imagination and my camera. The techniques that I used were, zooming, negative space and cropping the photograph. I found that this really helped with creating interesting, nice and unusual photographs.
Raw images
Selected images
Evaluation
From this task, I am very satisfied with the abstract photographed I have taken, this is because I chose the right objects to photograph, the right angles. I also believe that the zoom technique really helped me create abstract photos because it isolated the background, focusing on the object I wanted to photograph. Additionally, experimenting with the focus allowed me emphasise the abstract object. However, I wish we had much longer to tour around London to capture more abstract photography.
Task Four: Spitafields Market
My intention for going to Spitafields market was to capture the mood and spirit of the market; therefore, I went around the market and captured various types of things, e.g. food, scarfs, bags, jewellery, and many more. I entered the market filming the people, cafes, stands and objects to really capture the vibe and atmosphere of the market. However, when I watched the clip on my Mac computer, it was very shakey making it hard to see. Therefore, I wasn't able to use that footage. As I was walking around the stands I was told a couple of times that I wasn't allowed to photograph, due to the risk of theft. This made me reluctant as I wanted to really capture the true atmosphere of the market.
During my time in the market, I came up with a constructive plan which was to photograph things in order, for example, photographing all food stands, jewellery stands, clothing stands and home stands. I found this effective as I was going through the market efficiently, making sure that I didn't miss anything out. The food stands were selling different cuisines from all over the world, I photographed the Indian cuisine and the Japanese cuisine.
During my time in the market, I came up with a constructive plan which was to photograph things in order, for example, photographing all food stands, jewellery stands, clothing stands and home stands. I found this effective as I was going through the market efficiently, making sure that I didn't miss anything out. The food stands were selling different cuisines from all over the world, I photographed the Indian cuisine and the Japanese cuisine.
Evaluation
The aim of this task was to capture the atmosphere and vibe of the market and, I believe that I have achieved this due to the variety of photographs I have taken, varying from traditional foods from different cultures, clothes, jewellery and bakery snacks. Secondly, I wanted to photograph the colours of the market, which contribute to the atmosphere and the vibe of the market. In order to do this successfully, my target was to photograph clustered colours, for example, many colours that are close together, e.g. from clothing and foods.
To improve this task, I would have liked to photograph the movement of people, to highlight how busy markets can be. However, I wasn't allowed to photograph the public unfortunately.
To improve this task, I would have liked to photograph the movement of people, to highlight how busy markets can be. However, I wasn't allowed to photograph the public unfortunately.
Task Five: Cyanotypes
Cyanotypes is a photographic printing process that began in 1842 by Herschel. Engineers used the process during the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The process uses two chemicals: ammonium iron(III) citrate and potassium ferricyanide. The photographer Anna Atkins created a series of cyanotype limited-edition books that documented ferns and other plant life from her extensive seaweed collection, placing specimens directly onto coated paper and allowing the action of light to create a silhouette effect. By using this photogram process, Anna Atkins is sometimes considered the first female photographer.
Process:
1) In a typical procedure, equal volumes of an 8.1% (w/v) solution of potassium ferricyanide and a 20% solution of ferric ammonium citrate are mixed. The overall contrast of the sensitiser solution can be increased with the addition of approximately 6 drops of 1% (w/v) solution potassium dichromate for every 2 ml of sensitiser solution.
2) This mildly photosensitive solution is then applied to a receptive surface (such as paper or cloth) and allowed to dry in a dark place. Cyanotypes can be printed on any surface capable of soaking up the iron solution. Although watercolour paper is a preferred medium, cotton, wool and even gelatin sizing on nonporous surfaces have been used. Care should be taken to avoid alkaline-buffered papers, which degrade the image over time.
3) A positive image can be produced by exposing it to a source of ultraviolet light (such as sunlight) as a contact print through the negative or objects. The combination of UV light and the citrate reduces the iron(III) to iron(II). This is followed by a complex reaction of the iron(II) complex with ferricyanide. The result is an insoluble, blue dye (ferric ferrocyanide) known as Prussian blue. The extent of colour change depends on the amount of UV light, but acceptable results are usually obtained after 10–20 minute exposures on a dark, gloomy day.
4) After exposure, developing of the picture involves the yellow unreacted iron solution being rinsed off with running water. Although the blue colour darkens upon drying, the effect can be accelerated by soaking the print in a 6% (v/v) solution of 3% (household) hydrogen peroxide.The water-soluble iron(III) salts are washed away, while the non-water-soluble Prussian blue remains in the paper. This is what gives the picture its typical blue colour. The highlight values should appear overexposed, as the water wash reduces the final print values.
In a cyanotype, a blue is usually the desired colour; however, there are a variety of effects that can be achieved. These fall into three categories: reducing, intensifying, and toning.
- Reducing is the process of reducing or decreasing the intensity of the blue. Sodium carbonate, ammonia, Clorox, TSP, borax, Dektol and other chemicals can be used to do this. A good easily obtained reducer is bleach. Bleaching takes some patience. How much and how long to bleach depends on the image content, emulsion thickness and what kind of toning is being used. When using a reducer it is important to pull the cyanotype out of the weak solution and put the cyanotype into a water bath to arrest the bleaching process.
- Intensifying is the strengthening of the blue effect. These chemicals can also be used to expedite the oxidation process the cyanotype undergoes. These chemicals are hydrogen peroxide, citric acid, lemon juice, and vinegar.
- Toning is the process used to change the colour of the iron in the print cyanotype. The colour change varies with the reagent used. There are a variety of elements that can be used, including tannic acid, oolong tea, wine, cat urine, and pyrogallic acid.
Process:
1) In a typical procedure, equal volumes of an 8.1% (w/v) solution of potassium ferricyanide and a 20% solution of ferric ammonium citrate are mixed. The overall contrast of the sensitiser solution can be increased with the addition of approximately 6 drops of 1% (w/v) solution potassium dichromate for every 2 ml of sensitiser solution.
2) This mildly photosensitive solution is then applied to a receptive surface (such as paper or cloth) and allowed to dry in a dark place. Cyanotypes can be printed on any surface capable of soaking up the iron solution. Although watercolour paper is a preferred medium, cotton, wool and even gelatin sizing on nonporous surfaces have been used. Care should be taken to avoid alkaline-buffered papers, which degrade the image over time.
3) A positive image can be produced by exposing it to a source of ultraviolet light (such as sunlight) as a contact print through the negative or objects. The combination of UV light and the citrate reduces the iron(III) to iron(II). This is followed by a complex reaction of the iron(II) complex with ferricyanide. The result is an insoluble, blue dye (ferric ferrocyanide) known as Prussian blue. The extent of colour change depends on the amount of UV light, but acceptable results are usually obtained after 10–20 minute exposures on a dark, gloomy day.
4) After exposure, developing of the picture involves the yellow unreacted iron solution being rinsed off with running water. Although the blue colour darkens upon drying, the effect can be accelerated by soaking the print in a 6% (v/v) solution of 3% (household) hydrogen peroxide.The water-soluble iron(III) salts are washed away, while the non-water-soluble Prussian blue remains in the paper. This is what gives the picture its typical blue colour. The highlight values should appear overexposed, as the water wash reduces the final print values.
In a cyanotype, a blue is usually the desired colour; however, there are a variety of effects that can be achieved. These fall into three categories: reducing, intensifying, and toning.
- Reducing is the process of reducing or decreasing the intensity of the blue. Sodium carbonate, ammonia, Clorox, TSP, borax, Dektol and other chemicals can be used to do this. A good easily obtained reducer is bleach. Bleaching takes some patience. How much and how long to bleach depends on the image content, emulsion thickness and what kind of toning is being used. When using a reducer it is important to pull the cyanotype out of the weak solution and put the cyanotype into a water bath to arrest the bleaching process.
- Intensifying is the strengthening of the blue effect. These chemicals can also be used to expedite the oxidation process the cyanotype undergoes. These chemicals are hydrogen peroxide, citric acid, lemon juice, and vinegar.
- Toning is the process used to change the colour of the iron in the print cyanotype. The colour change varies with the reagent used. There are a variety of elements that can be used, including tannic acid, oolong tea, wine, cat urine, and pyrogallic acid.
Anna Atkins
Anna Atkins (16 March 1799 – 9 June 1871) was an English botanist and photographer. She is often considered the first person to publish a book illustrated with photographic images. Some sources claim that she was the first woman to create a photograph. Additionally, Anna Aktins created a photographic book showcasing cyanotypes of different types of flowers and plants.
My Cyanotypes
Evaluation
From my experimentation in creating cyanotypes, I am found the process reasonably straight forward, however also quite time consuming. I like how my second cyanotype print came out (right) as you can clearly see the print of the plants. As my first print didn't come out very really (left), to improve it, I would have chosen different plants, for example, smaller ones and flatter ones. This will enable the printing to be easier.
Artist & Me
This cyanotype is produced by Anna Atkins and it shows a fully bloomed flower as the focus of the photograph. Due to the fact that the flower is a lot more emphasised and sharp, the natural light must have been a lot more consistent.
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This is my photograph and it has some differences and similarities between my image and Anna Atkins. For example, the similarities are that we both used pressed flowers as the focus object for the cyanotype. However, the differences are the clarity of our photographs. For example, my photo's clarity is not high nor sharp and I believe this is due to the inconsistent sunlight there was during the development of the cyanotype.
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Task Six: Chemigrams
Chemigrams are another way of developing a photograph by using different types of thick chemicals; which were invented in the 1950s by Belgian artist Pierre Cordier.
Johann Schulze is regarded as the first to obtain a chemigram-like image; in 1725, he produced such a work using opaque paper and a bottle of silver salts. Hippolyte Bayard produced another chemigram-like image during sensitization tests he conducted in 1839. In the 1930s and 1940s, the German Edmund Kesting and the French Maurice Tabard produced pictures by painting with developer and fixer on photographic paper. It is the Belgian artist Pierre Cordier (born 1933), however, who has been most responsible for developing and exploring chemigrams. From his early days, in 1956, he was one of its rare practitioners, and contributed to its development by expanding its technical and esthetic possibilities. He adopted the name chimigramme in French in 1958 (chemigram in English and Dutch, Chemigramm in German, chimigramma in Italian, and quimigrama in Spanish and Portuguese), the most widely accepted designation today. In 1974 Josef H. Neumann advanced the process in his chemograms by incorporating optical elements before applying chemicals.
Process (traditional):
- Chemigrams can be made solely with photo paper, developer, and fixer, with results that will somewhat resemble watercolor. The possibilities can be multiplied by using materials from painting (such as varnish, wax, or oil), These kinds of experiments are akin to those of Paul Klee, Max Ernst, and Antoni Tàpies. For my photographs I used nivea cream, honey and olive oil, I then put them in the fix chemical and the developer chemical. I noticed a difference while doing this process, for example, when I placed the photographic paper into the fix chemical/solution first, the cream was only developed but not the paper itself. However, when I put the paper into the developer first, it developed the substance, making the rest of the paper black.
Johann Schulze is regarded as the first to obtain a chemigram-like image; in 1725, he produced such a work using opaque paper and a bottle of silver salts. Hippolyte Bayard produced another chemigram-like image during sensitization tests he conducted in 1839. In the 1930s and 1940s, the German Edmund Kesting and the French Maurice Tabard produced pictures by painting with developer and fixer on photographic paper. It is the Belgian artist Pierre Cordier (born 1933), however, who has been most responsible for developing and exploring chemigrams. From his early days, in 1956, he was one of its rare practitioners, and contributed to its development by expanding its technical and esthetic possibilities. He adopted the name chimigramme in French in 1958 (chemigram in English and Dutch, Chemigramm in German, chimigramma in Italian, and quimigrama in Spanish and Portuguese), the most widely accepted designation today. In 1974 Josef H. Neumann advanced the process in his chemograms by incorporating optical elements before applying chemicals.
Process (traditional):
- Chemigrams can be made solely with photo paper, developer, and fixer, with results that will somewhat resemble watercolor. The possibilities can be multiplied by using materials from painting (such as varnish, wax, or oil), These kinds of experiments are akin to those of Paul Klee, Max Ernst, and Antoni Tàpies. For my photographs I used nivea cream, honey and olive oil, I then put them in the fix chemical and the developer chemical. I noticed a difference while doing this process, for example, when I placed the photographic paper into the fix chemical/solution first, the cream was only developed but not the paper itself. However, when I put the paper into the developer first, it developed the substance, making the rest of the paper black.
Evaluation
Overall, I am pleased with what I have created considering I have no specific skill in this area. However, I really enjoy experimenting with different ways and techniques to make a photograph. To improve this task, I would incorporate objects, such as flowers in order to make the chemigrams more visually appealing as my chemigrams don't show anything specific.
Task Seven: William Eggleston Photography Exhibition
I went to William Eggleston's exhibition in order to get inspiration for my work and to know more about his work. I really enjoyed his colour photography as it really captured my attention, in addition, I liked his 'Clubbing' series because it had exceptional quality. I learnt that Eggleston printed his photographs with few techniques, for example, pigment print, dry-transfer print/process, polaroid print and colour coupler print. http://www.npg.org.uk/whatson/eggleston/explore/curators-tour.php
Brief: Create a series of photographs that make the mundane more interesting
'Mundane' - lacking interest or excitement, dull
In photography this identifies with everyday activities, for example, someone cooking, having a conversation, eating, cleaning their room and/or loading or unloading the dishwasher etc.
'Interesting' - arousing curiosity or excitement, catching the attention
Making photography interesting refers to changing the image, manipulating it, for example, blocking out parts of the photograph, destroying the film with bleach, saturating the image colour and/or experimenting with different camera angles. This way, the photograph will lure in the viewer.
In photography this identifies with everyday activities, for example, someone cooking, having a conversation, eating, cleaning their room and/or loading or unloading the dishwasher etc.
'Interesting' - arousing curiosity or excitement, catching the attention
Making photography interesting refers to changing the image, manipulating it, for example, blocking out parts of the photograph, destroying the film with bleach, saturating the image colour and/or experimenting with different camera angles. This way, the photograph will lure in the viewer.
William Eggleston is an American photographer who is known for his colour photography, his most known photography techniques are perspective, saturated colour and composition. His work has really inspired me because of his use of the colour he captures in his work, making the images stand out by capturing your attention.
I'm thinking in order to make the mundane look interesting, I will:
- Focus on colour by going around London and photographing the primary colours, yellow, red, blue
- Use my polaroid cameras too (for colour)
- Use my digital camera and photoshop the image to make it look like a film photograph
- Subject matter vs camera angle
- Subject matter vs saturated colour or film
- Dynamic imagery (e.g. someone jumping) and repeat the image next to each other, gradually fades away
- Subject vs destroyed film
- Mundane imagery collaged together
- Blocking out parts of the image
First Set: Colour & Film
These set of photographs were taken with my film camera with the film 'Kodak Color Plus', instead of Kodachrome, as I couldn't find Kodachrome film. I photographed these around Muswell Hill, my inspiration to these images is Williams Eggelston, because I really like how he makes the mundane become interesting. One of my pictures was taken in my kitchen, but the others are taken in Jenny's restaurant and Chooks. I chose these specific locations because they have the vintage, American and old look which is what I wanted to capture.
Evaluation
I am really happy with my first set because I have really captured the mundane, colours and made it interesting. For example, the film I used 'Kodak ColorPlus', really created the vintage look which was what I was going for; additionally, I made the pictures more interesting by photoshopping them a little, to bring out their main colours. I believe they resemble Eggleston's work in the way I have photographed. For example, the angles, zooms, objects/people, film and colour.
To improve my first set, I would photograph inside without flash as it makes the images not as dark and doesn't have the flash (white light) showing on the picture.
To improve my first set, I would photograph inside without flash as it makes the images not as dark and doesn't have the flash (white light) showing on the picture.
I have researched other ways in making a boring photograph, look interesting; I found the processing technique 'cross-processing'. This involves deliberately processing one type of film in a chemical solution that is meant for another type of film. This would be really helpful in achieving my goal as it will give the photograph a different feel, more interesting.
Artist & Me
This photograph was taken by William Eggleston as part of his series called "Colour". This specific photograph showcases a table cloth, shadows and highlighted primary colours, red, yellow and green. The key words that would describe this photograph would be shadow, colour, every day equipment. I believe William Eggleston photographed this image with a film camera.
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This is my photograph which I photographed with film camera and Kodak Colour Plus to emphasise the colours in the image. There are some differences and some similarities between my photo and Eggleston's. For example, the similarities are the objects that are being photographed, them being cutlery and kitchen appliances. However, one difference is the angle in which the photographed has been captured from. I captured my photo with a birds eye view perspective, whereas Eggleston's photograph was taken with a much more lower angle.
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Set Two: A Day In The Life & Angles
For my second set I will be photographing my family in their natural everyday state, for example, cooking, working, relaxing or making the beds, brushing their, teeth, brushing her hair etc. This way I will achieve my goal in capturing the mundane and making it look interesting based on the film I use. However, I won't be photographing with my film camera, I will be photographing with my digital. This is because I want to explore the difference between a film camera's photography and the digital's; enabling me to chose which camera I prefer.
raw images
Selected photographs
Evaluation
From my second set I believe that the angles and zoom went well as they are in focus. In addition, I like how I captured the activity of my family as they are natural. Lastly, I like the vintage/film effect I created on photoshop. To improve my second set I would colour in certain parts of the image to make it stand out more and experiment with angles a lot more because I haven't captured interesting angles. Lastly, I haven't photographed enough images which is what I will improve in my refinement.
With my two sets I have realised that having one specific film is not enough in making a photograph interesting, therefore I have come up with many different ideas of how to make photographs interesting. These include, my bullet points I have written above.
Refinement: Colouring Parts of The Image & Angles
This idea has been inspired by the painter John Baldessari, however he also created a photography project. Baldessari is known as an American conceptual artist for his work featuring found photography and appropriated images. He lives and works in Santa Monica and Venice, California. He additionally made a movie named 'Art City: Simplicity' in 2002, that takes viewers on a revealing trip into the studios and lives of a group of singular artists.
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John Baldessari
John Baldessari's Throwing Balls series relates to this set of work that I photographed, because these set of photographs have a pop-art type feel and surrealism.
John Baldessari is a conceptual artist working in photography, film, video, artists' books, billboards, and public works. Starting as a painter early in his career, Baldessari cremated all of the work he produced between 1953 and 1966 in a ceremony in 1970 to mark his transition from abstract painting to text-based art. Subsequently, he focused on photographic work, incorporating found and appropriated imagery while continuing to work with text and blending strategies adopted from Pop Art, Surrealism, Dadaism, and Conceptual art. Baldessari is interested in the interaction of imagery and language to create meaning, often suggesting and obscuring meaning in his work at the same time. He explains: “Words and imagery are both magical conveyors of meaning. Sometimes I think a word can deal with an emotion better, and sometimes I believe an image can say it better. I’m ambivalent about prioritizing an image over a word. I build meaning in my art like a writer builds meaning from putting the right two words together. When you get it just right, it ignites meaning."
In Throwing Three Balls in the Air to Get a Straight Line (Best of Thirty-Six Attempts), Baldessari attempts to fulfill a simple yet arbitrary goal, following rules in a similar manner to a game as structured by the title of his book. There are thirty-six documented attempts in the book--the typical number of exposures on a roll of 35mm film. The resultant images are documentation of Baldessari’s game, but they also border on abstract imagery and bear a resemblance to his later works involving painting or placing brightly coloured circles over faces in appropriated photographic imagery to obscure the subjects’ identity.
In Throwing Three Balls in the Air to Get a Straight Line (Best of Thirty-Six Attempts), Baldessari attempts to fulfill a simple yet arbitrary goal, following rules in a similar manner to a game as structured by the title of his book. There are thirty-six documented attempts in the book--the typical number of exposures on a roll of 35mm film. The resultant images are documentation of Baldessari’s game, but they also border on abstract imagery and bear a resemblance to his later works involving painting or placing brightly coloured circles over faces in appropriated photographic imagery to obscure the subjects’ identity.
Artist & Me
This photograph was taken by the photographer John Baldessari as part of his series called "Collage". The photograph highlights sections of the image being coloured in, in primary colours, blue, yellow and orange. The effect of this technique promotes the viewer to look at the photograph in two different ways. For example, focus on the parts of the face in which are blocked out with colour and looking at the environment, highlighting how busy the photo is. Secondly, Baldessari was inspired by the Greek vases which was what prompted his interest in how images are effected by having portions removed or blotted out, and he has continued to explore this ever since.
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This is my photograph of my younger sister which was strongly inspired by Baldessari's photographs. Indeed, this set was about making photographs interesting and I experimented with this, as I used a film camera to capture the photograph (creating a grainy effect). Following this, I went on to blocking out parts of the image. I believe this technique is more successful in making the image more interesting as it's unique.
There are some differences and some similarities between my image and John Baldessari's. For example, the similarities are that we have sections of our photographs blocked with colour and, with the same colours. Another similarity is that we photographed candid-like photographs, for example photographing people going about their everyday activities. |
Set Three: People & Bright Colours
This set will include recurring objects e.g. hats on people, which I will find in Central London, especially Trafalgar Square and Brick Lane. I will mainly focus on bright, primary colours, yellow, red, blue. This will make the photographs interesting because the bright colours will be the main focus of the photograph. Additionally to make the images interesting I will saturate them and make the bright hand stand out and colour in parts of the image because I really like the end result of this technique. I will take photographs with my film camera with the Kodak Colour Plus film.
Evaluation
I am satisfied with these photographs because I believe I have achieved the similar look as William Eggleston and John Baldessari regarding the colour and composition. I particularly the use of the dots blocking out the people's faces as it gives an anonymous effect and re-direct's the viewer's focus onto the environment the images show. Additionally, the viewer's eye is directly focused on the dots on people's faces which changes the perspective of the person, for example, instead of focusing on how the person looks, they focus on what the person is doing.
Artist & Me
This is John Baldessari's photograph from his series called "Dots". This black and white image showcases three men in suits and their faces blocked out and replaced with coloured dots. Additionally, the image is grainy and has high black and white contrast. The words that describe the photo are coloured dots, men and black and white.
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This is my photograph that I photographed in Central London with my film camera. I believe that I have achieved the same effect as John Baldessari's photographs, due to the texture, composition and colour of the photos. There are some differences and some similarities between my image and Baldessari's. For example, the similarities are that both our images include dots blocking out people's faces and the texture of our photographs are quite similar as they are both grainy.
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Re-defining my Brief: The Beauty of Light
I wanted to change my brief because I wasn't enjoying what I was photographing, I wasn't passionate about it and it wasn't what I wanted to photograph. However, I have finally pinpointed what I am really passionate about, which is capturing the mundane's small but beautiful things. This is highly inspired by the photographer Sarah Bernhard, a photographer based in Hamburg. I really like her work as she captures the beautiful things in the everyday life with the help of natural light. Sarah Bernhard works and relies her photographs on light as she says, "Light matters". Lastly, Sarah Bernhard photographs because she wants to remember things, people, detail and moments. She works with digital, analogue, point-and-shoot and professional full-frame cameras; because she isn't "bothered about equipment" as she believes the perfect photograph is all about light and the art of seeing.
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My first set - Light
My first set includes photographs which are focused on the beauty of light. Some of these photographs were taken with my iPhone 5s, because Sarah Bernhard stated that she uses any camera, starting from an iPhone camera to a Canon Camera. Therefore, I wanted to experiment with different cameras to see the difference in the effectiveness of the photograph. Furthermore, this set is inspired by the photographer Uta Barth; her work focuses on light but capturing it in an artistic way.
Uta Barth
Raw images
Selected photos
Artist & Me
Uta Barth
This photograph was taken by the photographer Uta Barth in 2012. It highlights focus on the delicacy and art of sunlight. The image shows light shining on a white curtain, blending in with the pattern/flow of the curtain. Furthermore, the photograph is very abstract and plain, however it has a very eye-catching look to it. Indeed Uta Barth, "regarded for her “empty” images that border on painterly abstraction. Barth carefully renders blurred backgrounds, cropped frames and the natural qualities of light to capture incidental and fleeting moments".
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Me
This photograph was taken by me on Monday 10th October in my bathroom suite. My image has some similarities and some differences with Uta Barth's photo. For example, the similarities are that they highlight the beauty, delicacy, abstract and the art of sunlight. My image shows two rays of sunlight crossing each other to create a 'X' shape on my bathroom wall. However, the differences are that my image has a more dark tone to it, whereas Uta's image has a more light and soft look to it. Therefore, in order to make my future photographs look like Barth's images, I must make them light and soft on the eye.
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Evaluation
The subjects I chose to photograph suits my theme, 'The Beauty of Light' as my photographs highlight light entering the room, reflecting off windows, onto the walls, creating an abstract image. I managed the exposure very well, my camera on setting 'Automatic', this is because it balances the light perfectly to capture a good photo. Overall, my images express my intentions which were to capture the beauty of light in the mundane. Next time I should include other people's arms and hands to add some interest to the photograph. Additionally, I should begin photograph a glass cup to make the light shine through to make the photograph eye-catching.
Set Two - Nature vs. Light
This set is all about how the natural sunlight interferes with nature, combining the two beautiful natural energies. My set of images below are taken in Kenwood House; I wanted to capture the small details of beauty that the sun can create. I like that I included in some of my photographs my hand, as it makes the photo a little bit more interesting. Indeed, I was at an advantage as I photographed on a very sunny day, making it easy to find small moments. I wanted to photograph nature in order to emphasise how beautiful it is, especially with the help of the sun. This idea of wanting to capture the small details of beauty that the sun can create, is purely inspired by the photographer Sarah Bernhard.
Sarah Bernhard
Raw images
Selected photos
Artist & Me
Sarah Bernhard
This photograph is taken by Sarah Bernhard and is part of her project 'Diary'. I really like this photograph as it's visually appealing due to the delicacy of the light shadowed on her hand. In addition, I like the colours of the image as they are very soft, the sky blue, skin tone, green and the yellow grass. Moreover, the way that her hand and the tree branch is focused, brings immediate focus to the eye, additionally making the image visually pleasing.
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Me
This is my photograph that I have taken in Kenwood House; my image and Bernhard's image have some similarities and some differences. The similarities are that we are both photographing our hand against a tree branch highlighting the sun's shadow on our hand. Another similarity is that we both have the tree branch and our hand is focus and the background in blur. However, the differences are the colours of the photograph and the zoom. The colours are different as my image shows a warm tone, brown and soft green. The zoom level is different because my photo has a close zoom, this is because I wanted to really show the shadow of the sunlight on my hand.
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Evaluation
I am very pleased with this set of photographs because I feel that I have really suited my theme 'The Beauty of Light'. I particularly like how I was able to photograph the small things e.g. leaves, hands and make them look effective with the help of the sunlight. Moreover, I managed the exposure really well as I used the camera setting of 'automatic' which gives the best natural aperture and shutter speed. To improve or add to this set of images, I would perhaps go to Kenwood House at another time of day when the light is strong, in order to capture the different light that the sun brings.
Set Three: Up Close and Personal
In this set of photographs my aim was to photograph the art of sunlight shining through natural and man-made things, for example, leafs and shutters. This set links to the theme of 'The Beauty of Light' because I am photographing light in a creative way. This set was inspired by one of Sarah Bernhard's photographs where she is peeping through the ray of light. I really like the photograph because it highlights Bernhard's blue eyes, making the photo beautiful. Therefore, I wanted to emphasis the human beauty with light.
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Raw photographs
Selected photos
Artist & Me
Sarah Bernhard
This photograph is taken by the photograph Sarah Bernhard as part of her project work 'Diary'. This picture shows Sarah Bernhard being in the ray of the light that is shining on her right side of her face, bringing out her right eye. The image has quite a dark blue background, which automatically draws focus to the ray of light.
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Me
This is my photograph that I took in my bathroom facing towards the light shining through the window. My image and Sarah Bernhard's image have some differences and some similarities. For example, the similarities are that in both photographs, the ray of sunlight are shining on one side of our faces; another similarity is that we are both taking a selfie and therefore, the camera is close to out faces. However, the differences are that in my image, I am closing my eyes, which results in non of my facial features being highlighted.
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Evaluation
I am pleased with the majority of the photographs that I have taken as they really emphasis what the sunlight can do to someone's face, making the photo a lot more interesting and beautiful. To improve these photographs I would go to Kenwood House (as it has amazing lighting) and spend a couple of hours there, as my photographs that I have taken were spontaneous.
Set Four: Sky Blue
This set is all about the sky and what the sunlight does to the sky to make it look beautiful. I wanted to photograph the sky at different times of the day in order to have a variety of light. I used my zoom lens to photograph the moon, the raindrops and the pink, purple clouds. Overall, I am happy with this set of images as it suits my theme 'The Beauty of Light'.
Raw images
Selected photos
Artist & Me
Sarah Bernhard
This photograph was taken by Sarah Bernhard for her project Himarë. This project includes 17 photographs of her trip to Albania. This particular image highlights the sky and the beauty of what light does to the clouds. I really like this photograph because the orange colour really goes against the stereotypical blue sky. Secondly, I really like how the middle cloud is highlighted by the sun, making the photograph visually pleasing.
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Me
This is my photograph which I captured with my zoom lens from outside my bedroom window. I really like this photograph due to the natural light colours of the sun, especially the fact that they blend in to the clouds. There are some similarities and some differences between my photograph and Sarah Bernhard's. For example, the similarities are that we both photographed the clouds with the sunlight. The differences are that my image shows a bit of the clouds and the sky, whereas Sarah Bernhard's image only shows the clouds. Secondly, the colours of the photographs are different. My photograph colours are blue, grey and pink, whereas Sarah Bernhard's photograph colours are orange, yellow and dark purple.
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Evaluation
I am very happy with my photographs of the sky because I was able to capture interesting and beautiful pictures. I was inspired by Sarah Bernhard's series of the sky due to the colours that she was capturing. Therefore, I photographed at specific times of the day in order to achieve something similar; I photographed during sunset because I wanted to capture the different colours the sun was producing. I am glad with my final results.
Set Five: Nature vs. Studio
In this set I will be showing the juxtaposition of nature with studio work. For example, I will project a video that I have taken in Kenwood House of nature and light, onto the photographic studio and have a figure standing in front of the projection. The inspiration of this set is by a past year 13 student, who did a very similar thing. Additionally, this set has been inspired by the photographers Davis Ayer and Lee Kirby.
This is one of Lee Kirby's most famous photographs for the album cover for London Grammer. Lee Kirby was very interested in experimenting with light and projection. This photograph was created with the use of long exposure, in fact this image was an accident as Kirby stated that his assistant accidentally knocked over the table that the projector was sitting on, which resulted in creating beautiful light circles. Indeed, Kirby tried numerously to re-create this effect, however was not able to. Therefore, he continues to experiment with light and projection. |
This is the photograph by Davis Ayer which is part of his project 'Time Travel', which consists of old vintage landscape photographs that are projected onto a female body, accenting the curves and colour of the skin. Born in Champaign, Illinois and raised in Minnesota, Davis Ayer, started using one of his parents' SLR camera's and was instantly drawn to the connection with photography.
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My Response
Selected photos
Evaluation
I am very happy with these set of photographs because the composition and the end result is exactly what I imagined and wanted it to be. Secondly, I really like how the light from the projection and the photographs that I chose to project, makes the model seem that he is in the location I took the images in. Lastly, I am very pleased with these photographs because they suit my theme 'The Beauty of Light'. To improve these set of images I would possibly photograph more nature, in order to have a larger variety of images to project. In addition, since the projection is most visible on skin, I would photograph the projection on my friend's skin, to make it look more like Davis Ayer's photographs.
Artist & Me
Davis Ayer
This photograph was taken by the photographer Davis Ayer. The image highlights vintage city projection onto a female body from her mid arms to her lower body. The background is black which puts instant focus to the body with the projection.
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Me
This is my photograph that I took in the school's photographic studio. I used my previous photographs to project onto Jason, I chose them because they highlight the natural sunlight which I really like and suits my brief. Ayer's photograph and mine have some similarities and some differences. For example, the differences are that Ayer's projection is of a city, the model is naked and the background is black, making the projection only being on the body. However, the similarities are that we both used the projection technique.
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Set Six: Moving image ~ Nature vs. Studio
For this set, my intention was to create juxtaposition between nature and studio projection. Secondly, I wanted to make my model look like she is not in the studio, however, in nature itself. Indeed, I took many videos and resulted in my two best ones which I put below.
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Evaluation
I am very happy with my two final videos because they are exactly what I imagined. I am also pleased with the bird noises as they make my aim of wanting the model to seem like she is in nature, real. To improve this set, I would use my neighbour's Canon 5D camera to film. This is because I'm not very pleased with the quality of the videos, they are a bit blurry.
Set Seven: Light, Shadows & Shapes
This set will explore the relationship between light and architecture, I will be photographing in the South Bank, the Barbican and Fenchurch Street. I will aim to photograph how the light creates shapes and shadows that project onto someone. This set is inspired by the photographers Paul Strand and Sarah Bernhard. Furthermore, I will also be photographing artificial light that is projected onto someone, for example, car headlights and street lights. This idea was inspired by Philip-Lorca diCorcia and Laurie Bartley.
Paul Strand
Paul Strand was an American photographer and filmmaker who, along with fellow modernist photographers like Alfred Stieglitz and Edward Weston, helped establish photography as an art form in the 20th century. His diverse body of work, spanning six decades, covers numerous genres and subjects throughout the Americas, Europe, and Africa.
Strand was born in New York City to Bohemian parents. In his late teens, he was a student of renowned documentary photographer Lewis Hine at the Ethical Culture Fieldston School. It was while on a fieldtrip in this class that Strand first visited the 291 art gallery – operated by Stieglitz and Edward Steichen – where exhibitions of work by forward-thinking modernist photographers and painters would move Strand to take his photographic hobby more seriously.
Over the next few decades, Strand worked in motion pictures as well as still photography. His first film was Manhatta (1921), also known as New York the Magnificent, a silent film showing the day-to-day life of New York City made with painter/photographer Charles Sheeler. Manhatta includes a shot similar to Strand's famous Wall Street (1915) photograph.
Strand was born in New York City to Bohemian parents. In his late teens, he was a student of renowned documentary photographer Lewis Hine at the Ethical Culture Fieldston School. It was while on a fieldtrip in this class that Strand first visited the 291 art gallery – operated by Stieglitz and Edward Steichen – where exhibitions of work by forward-thinking modernist photographers and painters would move Strand to take his photographic hobby more seriously.
Over the next few decades, Strand worked in motion pictures as well as still photography. His first film was Manhatta (1921), also known as New York the Magnificent, a silent film showing the day-to-day life of New York City made with painter/photographer Charles Sheeler. Manhatta includes a shot similar to Strand's famous Wall Street (1915) photograph.
Sarah Bernhard
Raw photographs
Selected photographs
Evaluation
From this strand, I like how I captured good shadows from people and the light trail in Tate Modern. Compared to all my previous strands, I am not very pleased with this one, because I found it very difficult to find shadows from buildings. However, I was able to capture shadows from people, which was easier to find. Therefore, I will carry on with my previous work of projection.
Artist & Me
Artist
This photograph was taken by the photographer Paul Strand which showcase the shadow of a building next to a woman. I like this photograph because it highlights the outline of a building, however not the actual building; this makes the photograph have a surrealism effect.
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Me
This is my photograph that I took in South Bank in the morning. To achieve this photo I stood in one area and waited for someone to walk by to create a shadow. This worked very successfully as I was able to capture what I wanted. I am also very happy of the silver natural tone that the image has. My photo and Paul Strand's photo have some differences and similarities. For example, the differences are that my photo is holding a human shadow, whereas Paul Strand's photo holds a building's shadow. Secondly, the person in my photo is the main object, however, the person in the artist's photo is in the corner of the photo, not making them the main object. Despite this, I understood what Paul Strand photographs and made it into my own.
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Film Noir
Film Noir - a cinematic, Hollywood genre that was popular during the 1940s and 1950s, it's associated with a low key black and white visual style that has roots in German Expressionist cinematography. Film Noir is used in films to illustrate and emphasise cynical attitudes and sexual motivations. Moreover, many of the prototypical stories and much of the attitude of classic noir derive from the hardboiled school of crime fiction that emerged in the United States during the Great Depression. Additionally, the term is French for "black film" (literal) or "dark film" (closer meaning), which was first applied used in films by French critic Nino Frank in 1946. At first, it was unrecognised by most American film industry professionals of that era. However, nowadays, cinema historians and critics, have defined the category retrospectively.
I will be photographing fashion with the inspiration of the 1940s film noir style. This photography/film style has really inspired me because I like how the high contrast, black and white filter,limited but focused lighting and the fashion era makes photography iconic, bold and highly stylish. Over the weekend I will be photographing underneath street lights in the dark in Muswell Hill, my model will be wearing 1940s fashion clothing, for example, big fur coats, hats, tight clothing and in general black and white clothing. The aim this weekend is to capture a menace but highly stylish mood by photographing full body and portrait. Additionally, this idea was inspired by the famous film director Alfred Hitchcock. This is due to his choice of high contrast, atmospheric, creepy, gangster style and highly fashionable style. In order to achieve this style successfully, I must consider doing:
I will be photographing fashion with the inspiration of the 1940s film noir style. This photography/film style has really inspired me because I like how the high contrast, black and white filter,limited but focused lighting and the fashion era makes photography iconic, bold and highly stylish. Over the weekend I will be photographing underneath street lights in the dark in Muswell Hill, my model will be wearing 1940s fashion clothing, for example, big fur coats, hats, tight clothing and in general black and white clothing. The aim this weekend is to capture a menace but highly stylish mood by photographing full body and portrait. Additionally, this idea was inspired by the famous film director Alfred Hitchcock. This is due to his choice of high contrast, atmospheric, creepy, gangster style and highly fashionable style. In order to achieve this style successfully, I must consider doing:
- Range of different points of view from close up, mid- and far range
- Play with perspective by shooting from a high and low position to capture interesting angles
- Using the architecture to frame interesting shapes and understanding of negative space
- Dramatic interpretation
- Use of a range of lighting techniques from natural to artificial light
Raw images
Selected photographs
Evaluation
From this set of photographs I am pleased with the quality of the images, the angle and shot I used, I achieved the 1950s look successfully and I was able to capture the street light light well. I am not too satisfied with this set because it lacks variety of different types of angles and shots. For example, long shots, birds eye and worms eye view. Resulting in the photographs not being interesting. Therefore, to improve this set, I would indeed incorporate the variety of angles and shots.
Experimenting in the Studio
I thought it's very important to experiment with the different lighting and projector before I photograph the actual aim. For my experimentation, I tried two coloured back drops, white and black. This is because I wanted to see which back drop would be better in achieving the film noir effect. Additionally, I wanted to achieve the 'shutters' effect that is very famous in film noir fashion photography in the 1950s. To achieve this, my teacher photocopied and printed out photographs of shutters that I chose, and photocopied them onto acetate to be able to place it onto the projector. From my experimention, I prefer the black back drop because it creates the film noir effect better as it has the dark tones.
Raw images
Evaluation
I am pleased that I experimented in the studio and with my peers in order to figure out how and what I wanted to photograph, it gave me awareness of how to photograph film noir successfully/properly. Therefore, I was able to go into the studio with ease and with the knowledge of what I wanted to achieve and how I would do it.
Recap
Working with Colour
For this set I want to change the 1940s and 50s fashion era to today's fashion, however keep the film noir photographic style. I like this juxaposition because it makes the photograph interesting. I will be photographing a guy and a girl as I want variety. This was inspired by the fashion photographer Alex Prager and Nick Knight, as they photograph 1950s fashion photography in colour, which brings out the modern feel. Secondly, I will photograph in the studio in order to capture a focus on the fashion. Lastly, for this set, I want to photograph on pastel background coloura, for example, pink, purple. However, I know that the school's photographic studio, doesn't have these colour back-drops. Therefore, I will simply photograph on the white back-drop and photoshop in a pink, purple and blue background.
Raw images
Selected photographs
Evaluation
From this set I am very pleased with the high contrast lighting as it mirrors film noir lighting, however in colour. Secondly, I really like the angles, zoom and quality that I used and achieved as they all come together to create the composition. Lastly, as I was shooting, I came up with the idea of filtering the light with green, yellow and orange plastic paper. This turned out really successfully as it made the photographs a little more eye-catching and interesting. To improve this set, I would take more photographs of Felix as having him in my shoot was very last minute, limiting me in planning what I wanted him to do.
Artist & Me
This photograph was taken by the photographer Alex Prager as part of her Fashion Series. It showcases a woman wearing a fluffy pink coat, short hair, winged eye-liner, imitating the 1960s fashion look. The woman is looking into a distance, facing away from the camera, in front of a navy blue background. This photograph was created with the use of bright light in order to Prager to have created shadow but still accomplish projecting light onto the model's face. The keywords that would describe the photograph would be, contrast, shadows, fashion and light.
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This is my photograph which was inspired by Alex Prager's fashion series. I was inspired by her because I was looking for something similar to film noir however with colour. Before I began shooting, I looked at her series carefully to understand and re-create the lighting positioning, so I could create something similar. As a result of this, there are some differences and some similarities between my photo and Alex Prager's. For example, the similarities are that we both mixed fashion with film noir. Secondly, I was also able to achieve the right amount of shadow and contrast. The differences between our photographs, for example, the angle at which we photograph. Indeed, I wanted to experiment with different angles in order to figure out which angle looks best.
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Cinematic Film Noir
I wanted to go back to the original film noir technique, black and white, because I wanted to explore the dramatic and Hollywood side of film noir. I also wanted to create a story behind the photographs, in this case, showing the relationship between a romantic couple and the different stages involved. For example, hopelessly in love, having an argument, being upset and suspicion. I also wanted to photographs portraits of my models to show their characters.
Raw images
Selected photographs
Evaluation
From this set of photographs, I am very pleased with how I positioned to models in order to demonstrate a romantic relationship between male and female back in the 1940/50s. Additionally, I am pleased with the black and white effect as it makes the images very mysterious and gloomy; which is exactly what I wanted to achieve. To improve this set I would project photographs of shutters and door cracks to make the photographs more interesting.
What's Next?
I really like this photograph because of how the light is cropping out parts of Jason's face, making it abstract. This is something that I would like to develop further. This was also inspired by the photographer Sarah Berhard, as I previously mentioned before in my 'Light' project. I will photograph in the studio with the same lighting in order to achieve the cropping effect. This means that I will be moving away from my recent narrative, and bringing my project back to light.
Photographer's examples: Sarah Bernhard
Studio Photography
For my final set I want to explore abstract photography in terms of textures, quality of light and reflection. I will be in the studio where I will set up equipment such a textured glass and coloured paper and have my model's body parts e.g. arms, ears, legs etc. For these set of photographs, I purely focused on the light highlighting my model's face features with help of the mirror. I used a mirror in order to create an abstract effect. I am pleased with these photographs and how they came out, however, I need to take more as I want to show a lot more variety. Including different angles, zoom in, zoom out, different coloured paper.
Evaluation
From this set of images, I like how the minima, lighting creates a mysterious and eery vibe to the photographs. However overall, I'm not really pleased with these set of photographs, this is because I don't feel I have created the photographs that I wanted. Therefore, the next step would be to try again with this technique in order to create what I want.
Refinement
I wanted to refine the studio photography task because I was not happy with my photographs as they didn't portray my best work. I was also struggling to create the abstract effect with using light. I finally noticed the root behind my struggling, I was not using the correct equipment, therefore, instead I used a projector and two pieces of paper to cut the light coming from the projector in making it like Sarah Bernhard's work.
Contact sheet
Edited favourites
Evaluation
I am extremely pleased with my refinement because I was finally able to achieve my goal for creating abstract photography with minimal lighting. I also like my experimentation with the different angles and perspectives I used, in order to help me photograph the best possible photograph. This is evident through my selection of photographs from my contact sheets above, editing them and blowing them up. To improve this refinement, I would have liked some more time because I the time period which I photographed, was a bit tight. Therefore, with having more time, I would have had more time experimenting and improving my photographic skill.
Final Piece: Film Noir
I wanted to develop my first idea into photographing 1940s style under street lights to photograph in the photographic studio. I will use a black back drop and limited lighting to keep the film noir style and keep the 1940s style. This is because I want to emphasise the 1940s style in a classy and stylish way. I will focus on mostly portraits, however I will indeed experiement with full body photos as well. Moreover, for photographing in the studio, I really liked the blind style, where the light shines through the blind creating a cool and eye-catching feel. In order to achieve this, I will play around with cut paper and place it on the projector. Lastly, I will include 1940s props, for example cigarettes, hats and pearl necklaces.
Raw images
Edited favourites
I am extremely pleased with my selected photographs because they really highlight the 1940/50s film noir style. This is because I have used 1950s clothes, props and created the hairstyle. For props I used pearl earings, necklace and a cigarette. Furthermore, I wanted to also create the Hitcock film style, with the use of blinds. Due to the fact that there aren't any blinds in the photographic studio, I used acetate printed blinds and put them on the projector. This fortunately worked really well as I was able to achieve what I wanted. Additionally, I am very happy with the angles and poses that my model and I used, for example, the close-ups, side profile, long shot, birds eye view and worms eye view. I wanted to experiment with different angles in hope to make my photographs interesting to look at. Moreover, I am extremely happy with the lighting that I used and how I positioned it, as it really brings out that film noir photography style. Lastly, I am pleased with the editing that I did; for example, I like how I made the photographs have a black background and having my model being focused on.