Nick Albertson

Born in Boston,  Massachusetts, in 1983, Nick Albertson has had his abstract photography exhibited in Chicago, Portland, Seattle, San Francisco and New York, as well as international exhibitions such as the Pingyao International Photo Festival. Albertson’s work focuses on patterns and repetition in ordinary, mundane objects. Nick Albertson’s work combines photography, video, and sculptural forms

Analysis of Nick Albertson’s work

The harsh, artificial lighting powerfully illuminates the white hangers in order to create a clear contrast against the harsh, black background. No shadows are formed in this photograph as the background itself is black, therefore any shadows produced would have blended into the surroundings.

There is a clear juxtaposition between straight and curved lines in the photograph. There is no specific direction created in the image as the lines direct the viewers eyes in all directions around the screen. The lines are used more as focal points for the image rather than leading lines as there is not one singular focal point.

There is a pattern of repetition using lines in this image. The contrasting straight and curved lines create a type of swirling pattern around the screen as they cross paths with one another.

The aesthetic of the image is very geometrical and artificial, as Albertson lays out the coat hangers in a specific way and bends them in order to create juxtaposing lines. Shapes such as squares and triangles are created due to the specific bending of the lines.

The photograph is very shallow and has no use of depth of field as the whole image is in focus and no shadows have been created with the use of light. The image focuses purely on the patterns of repetition and contrasting light and dark. A larger aperture may have been uses for this image, perhaps f.4, as there is no need to capture the depth in the photograph. A fast shutter speed was probably used for this still-life image and I also believe a high ISO was used in this image in order to create the harsh whiteness.

It is difficult to depict the texture of this photograph as the image itself is very flat, however there is a lack of rough or jagged edges in the photo therefore I believe the texture must be smooth.

There is little range in tone or value in the image as the shades of black and white are completely contrasted. The blinding white lines are juxtaposed with the gloomy, black background in order to create a distinction between black and white. The whole image tends towards darkness, as the thin lines are the only use of light.

There is no colour in the photograph. This is because Albertson’s aim was to signify the contrast of black and white and focus on patterns of lines rather than the use of colour. The lack of colour allows the viewer to appreciate the pattern of lines in it’s purest form.

I feel as though this image is balanced as the whole image is busy and there is no negative space. The composition of the image is artificial and geometric, however there is no use of the rule of thirds in this image, as there is no specific focal point.

Harry Callahan

Harry Callahan, born in 1912, was an American photographer and educator who taught at both the Institute of Design in Chicago, and the Rhode Island School of Design. Harry Callahan held his first solo exhibition at the Art Institute of Chicago in 1951, he later held a retrospective at the Museum of Modern Art in New York between 1976 to 1977. In 1978, Callahan represented the United States in the Venice Biennale. Callahan was one of the few innovators of modern American photography noted as much for his work in color as for his work in black and white, and also often used the method of multiple exposures in his photographs.

Analysis of Harry Callahan’s work-

The soft, natural lighting in this photograph allows for a slightly more subtle contrast of light and dark. The shadows and highlights in the image are not harsh, however they still depict a clear juxtaposition.

There is a clear pattern of repeated, jagged lines in the image. The lines direct the viewers eyes upwards, and towards the top third of the image.

A repetition of line is exemplified in the photograph, as the plants create both straight and curved lines that juxtapose against one another. The plants are then reflected in the water to create a further sense of abstraction, as the reflected lines are distorted by the water.

The shapes in the image are both geometric and organic as some of the lines are straight, however they become distorted and curved by the water.

There seems to be a narrow depth of field in this image as the reflections of the plants in the foreground seem to be more in focus than the background. I think this image was taken with a larger aperture and maybe a longer shutter speed in order to capture the motion of the water.

The water in the foreground of the image gives the photograph a smoother texture, however the contrast of jagged, misshapen lines also could give the image a rougher texture.

There is a range of tones from dark to light in the photograph. Although the image has a monochromatic theme, there is slight change in tone between black, white and grey. For example, the darkest area of the image is the thin, black lines created by the plants. The lightest area of the photograph is the reflections of the water in the background, which are highlighted by the sun.

There is very no colour in the image, however there is a range of tones from black to white, and a very subtle green hue to the image.

Although the composition is unorganised and organic, the composition seems balanced as the pattern of lines is consistent throughout the photograph.

Comparison between Nick Albertson and Harry Callahan’s work:

Nick Albertson and Harry Callahan both interpret abstraction and especially patterns of repetition in similar ways. For example, in these photographs, they both focus on the repetition of line through different methods. In addition, these images create a strong sense of contrast with light and dark.

On the other hand, Albertson’s work is heavily artificial and organised, as he specifically places his subject into a desired pattern or shape. He also uses artificial lighting in order to highlight the repetition in his images. Harry Callahan’s work juxtaposes this as he often photographs natural forms and patterns found in nature. Because of this, he also uses natural lighting which softens the image as a whole to give less defined shadows and highlights.