New Topographics – Joe Deal

Joseph Maurice Deal Was born in Topeka, Kansas on August 12th 1974. Deal received a bachelor’s degree in fine arts at the Kansas City Art Institute in 1970. He received his master’s degree in photography in 1974 from the University of New Mexico. He created several major bodies of work including: the Fault Zone, Site Documents, and West and West.

In 1975, Deal’s photographs were included in the now landmark exhibition curated by William Jenkins at the George Eastman House titled, New Topographics: Photographs of a Man-Altered Landscape. At this time, Deal was the director of exhibitions at the Eastman House, and played a significant role in designing and organizing the exhibition. Deal contributed 18 black and white photographs to the exhibit in a 32 cm × 32 cm format. Many of the photographs Deal submitted featured homes newly constructed against the desolate landscape of the American Southwest.

Image Analysis

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Visual

Visually that Image has been naturally broken into two different sections, the section with the family’s home, which consisted of many sharp line with clear beginnings and endings.Which is contrasting to the section behind the house which has a soft feel to it with natural curved lines that have been created by nature. In this image the contrast is quite significant and Ansel Adams zone system could also easily be applied to this image as there are defined whites and blacks.The type of lighting which has been used to capture this image is natural daylight,

Technical

In this image there is a medium sized tonal range , the darkest colour being the shadows from the open door into the house and the lightest being the ground from having the sun blaze down on it. There are many different textures within the image, the roof and side of the house is smooth from the slates which have made the side of the building, the mountainside which is is ruff, the pile of dirt at the front of the house which is very ruff and the sky in the top corner which is soft

Contextual

This image was taken in 1984 if a model home in Phillips Ranch California. As Joe Deal was heavy involved in the Topographic  movement this image was taken as part of that collection of work

Conceptual

The concept behind this image coould be many things, from the way that humans are taking over the natural world to provide for there needs and demands instead of looking at the world around them and caring its needs and wants.

The New Topographics

The New Topographics is a term used to describe a group of American photographers, including Robert Adams, whose pictures had a similar banal aesthetic as they were formal, black and white prints of urban landscape. Many of the photographers involved were inspired by the man-made. They used subjects such as parking lots, suburban housing and warehouses. The New Topographics had a major influence on later photographers including the artists that became known as the Dusseldorf School of Photography. The New Topographics were a reaction to mans impact on land and the Romanticism movement.

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A photograph from Robert Adams, part of the New Topographics

The New Topographic

The New Topographics 

The new topographic was a phrase to describe a group of AmericanImage result for "New Topographics: Photographs of a Man-Altered Landscape based photographers who were inspired by man made environments.Parking lots, suburban housing and warehouses were all depicted with a beautiful stark austerity.

“New Topographics: Photographs of a Man-Altered Landscape” was an exhibition that epitomized a key moment in American landscape photography. The show was curated by William Jenkins at the International Museum of Photography at the George Eastman House (Rochester, New York), and remained open to the public from October 1975 until February 1976. The photographers featured in this exhibition where; Robert Adams, Lewis Baltz, Joe Deal, Frank Gohlke, Nicholas Nixon, John Schott, Stephen Shore, and Henry Wessel, Jr. The  German couple, Bernd and Hilla Becher, were also invited to the exhibition, who was then teaching at the Kunstakademie Düsseldorf in Germany.

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What was the new topographic a reaction to?

The movement was a reaction to the works similar the works of Ansel Adams which was portraying beautiful scenic landscapes which have seemingly have been untouched by humans. The group wanted to highlight that most of the world was not like this and once beautiful areas had become wastelands for mankind.

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Grand Teton National Park, Ansel Adams
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Mobile Homes, Jefferson County, Colo., 1973, Robert Adams

Nicholas Nixon

Influenced by the photographs of Edward Weston and Walker Evans, he began working with large-format cameras. Whereas most professional photographers had abandoned these cameras in favor of shooting on 35 mm film with more portable cameras, Nixon preferred the format because it allowed prints to be made directly from the large format negatives, retaining the clarity and integrity of the image.

Image result for NICHOLAS NIXON landscape photographyHis very first pictures are mostly architectural views of the city taken from rooftops and part of them were included in the “New Topographics” exhibition in 1975. “My idea at the time was to put my feelings in service to clear description. When I moved to Boston in 1974, I was enthralled with it and was trying to figure it out. Getting on rooftops was a great way to learn…not unlike the way one climbs to the top of a bluff or a mountain: to see more.”  He took photos from above, “like a landscape surveyor,” he said. “You could see where the streets go, you could see where everything lines up.”

Family Album, through May 2011. In Summer 2013 Nixon’s newest book will be released by Steidl. The body of work entitled Close Far explores the relationship of the self in physical and psychological proximity to the urban landscape. Nixon’s work is included in the collections of the Metropolitan Museum of Art, the Museum of Modern Art, New York, the San Francisco Museum of Modern Art and the Museum of Fine Arts in Boston, among many others.

Thomas Struth

Thomas Struth began taking photographs of industrialised cities when he was studying under Bernd Becher (born 1931) at the Düsseldorf Academy.  He has continued to explore and develop the theme for almost twenty years, focusing his attention on such cities as New York, Tokyo, Berlin and Naples.  Struth’s images of the urban environment concentrate on seemingly unspectacular streets and public spaces. He seeks to record the face of urban space, seeing the architectural environment as a site where a community expresses its history.

Via Giovanni Tappia, Naples 1989 1989 Thomas Struth

This photo is taken in Via Giovanni Tappia, Naples 1989. Struth focuses his camera on the Neapolitan cityscape where he places the camera in the middle of the street at eye level. This creates a one-point perspective that leads the viewer’s eye down the street. It also results in the road being as much the focus of the scene as the apartment buildings on either side. There are few signs of the lives of the inhabitant, leaving no trace of their presence. Struth presents an image of a slightly scruffy, inner-city residential street which is filled with traces of activity and domestic life. This suggest that his images can be read as exploring differences in national character through the way urban space is inhabited.

In recording the urban environment, Struth deliberately refers to the tradition of black and white documentary photography, adopting a seemingly objective position. The compositions are simple and the photographs are neither staged nor digitally manipulated in post-production.  However, in spite of a link to the reportage tradition, Struth avoids both its snapshot approach and its quest for the capture of a fleeting, spontaneous image. Rather he carefully selects the sites where, using long exposures he makes sharply focused images.

Shinju-ku, (TDK), Tokyo 1986

Struth focuses on a busy intersection in urban Tokyo. He has taken the photograph from the middle of the road, pointing the camera down the street. As a result the spectator’s eye is drawn into the image and invited to inspect the architectural environment. The technique is one which Struth has employed in many of the street scenes since the late 1970s. However, unlike many similarly constructed images, the Tokyo photograph is not deserted. It is rather filled with people and movement, presenting an image of chaotic urban activity. The city that Struth presents is unregimented: there is little architectural unity. Because so much activity is included in the image, Struth is able to evoke the dynamic energy, speed and frenetic temporality characteristic of contemporary Japanese urban culture.

Romanticism photography

What is romanticism photography?

Throughout the 1800s the romantic movement was the most popular form of landscapes that were painted early on. However, the style is brought back in the 21st century with photographers recreating similar images. The first real romantic landscapes were seen in the period when artists, poets and writers were more focused on nature and the power of it more than any history, religion or portraiture happening in that time.  The period was characterized mostly by emphasis of emotion as well as nature. At the time, the industrial revolution was emerging and romanticism was a fresh and almost reminiscent way of thinking that was not so focused on the technologies and future. It is also characterized by a heightened interest in nature, emphasis on the individual’s expression of emotion and imagination and the departure from the attitudes and forms of classicism.

 

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These images where all found on Google under ‘romanticism photography’.

Romanticism Case Study – Ansel Adams

Ansel Adams (1902 – 1984) was an American photographer and environmentalist. His photos of the American West are often seen on calendars, photos and books.  Adams founded the photography group ‘Group f/64’. He was part of the romanticism movement and produced lots of striking landscape photographs in black and white, often involving a pathway of some sort and interesting weather.

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Ansel Adams is a key photographer within the romanticism genre of landscape photography. He was one of the most influential people  that inspired many of the modern day photographers to capture the pure beauty that lays within our earth. He focuses on capturing the untouched areas of our world and exaggerating the pictures to create dramatic and intense photos.

Image analysis

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This photograph appears to have been taken with only natural light.  Typically, wide angle lenses were and still are used to capture landscape photos, which is likely what would have been used to create this image. This image has a large tonal range, with the foreground and parts of clouds very dark and sinister to the peaks of the mountains, illuminated in snow. This image entails a large depth of field as the closest parts of the image are sharp and in focus as well as the furthest points such as the clouds. A fast shutter speed would have been used to capture this image because we can see there is no motion blur within the river or the clouds. If a slower shutter speed was used, then the clouds and river would have became silky and smooth with motion blur creating this. There is a great use of leading lines within this photo as the river and trees/banks on either side of it, leads the viewers eyes from the trees in the foreground all the way to the mountains in the background. The composition of this photo is effective yet doesn’t use the rule of thirds to its potential. The only use of rule of thirds int his photo is where the horizon sits on the top horizontal line. There is little use of rule of thirds used because Adams is trying to show that it is natural and it is the subject that is beautiful rather than the actual photograph itself. I think Adams was trying to influence the idea that the environment is beautiful by using little editing.

Image anlysis

This photo was produced by Stephen Shore,And was taken in Beverly Boulevard and La Brea Avenue, Los Angeles, California, June 21, 1975, 1975, chromogenic color print,This image is a key example of the movement that started  within the US from’The New Topographic’s’ .It presents many different elements to create a finished overwhelming and successful piece that identifies America at the time and the presence of nature within peoples everyday lives. the foreground shoes a complex and dynamic range of petrol stations which relate to the conceptual thought to clearly demonstrate America,this is done throughout at the time Americans occupied most of their time within travel and the exploration of the world in which they lived,the movement of the cars and a long road represent this theme successfully,This at the time was seen to be the American dream wihtin society and a large social reform to see the world as it was prenstly and stop working continuously.Furthermore the large signs create lines which are all parallel so attract you attention, the consistent colour impact of  blue,white and red emphasis the nationalism throughout the image.The background of the image is done in order to show that the low horizon of nature so presenting the vast mountains to loose their strength and be seen as small and inferior to that of the man made industrials. The bussy format is done to again show an element of line throughout the image and present  the area not showing the whole of the place.The perspective of the piece is clearly unplanned, this creates a unique quality and accurate representation  of the town itself, its vast cluttering shows a very humanness to the image which at the time was very rare to the clear majority usually  seen within landscape photography.The wide camera format allows a sense of size of comparison  throughout the piece