Frank Hallam-Day

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Image Analysis

In this image Day uses a lot of lines and shapes. His work is very flat due to the composition being straight and the lines being horizontal. The colours Day uses are very bright and vibrant, these are seen throughout the image because the colours reflect onto the sea. In his work no shadows or lighter areas can be seen meaning that the image has no depth and is one dimensional. There is contrast in the photo between the side of the ship and the ocean, the side of the ship has rough, jagged and straight lines whereas the water has more rounded flowing lines that aren’t as straight. The texture of the image is rough on top due to the rust and the peeling paint, however on the bottom it has a less rough texture on the bottom due to the water and the reflection in it. There is also a repetition of horizontal lines and colours throughout the photo because of the reflection in the water.

Response

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Evaluation

In my work i tried to capture lines and proportions in the same way that Hallam-Day does. I took photos of a stripped wall that had a lot of marks and lines, I also chose these because they have a very flat look to them which Hallam-Days work has.

Final image

Eileen Quinlan

Quinlan  is a self-described still-life photographer who shoots with medium format and large format cameras. She is often regarded as one of many contemporary artists revisiting late Modernism, Quinlan uses medium and large format analog cameras to create abstract photographs, and then agitates the film via steel wool or long chemical processing. Some of her photographs include smoke, mirrors, mylar and coloured lights. The result is photographic images that are reminiscent of color field painting and op art, furthering the contemporary conversation between photography and painting.

Photo shoot

My photos inspired by Quinlan

I liked the outcome of these images, I adjusted the exposure, brightness, contrast and saturation to match Quinlan’s work. The images i took have a good amount of depth and definition. The lighting i used to take these photographs was artificial, i reflected colour onto the ice cubes and water droplets to make the images eye-catching and vibrant.

Frank Hallam-Day

Frank Hallam Day’s work explores the impact of humanity’s footprint on the natural world. Day, who was trained as a painter, says his photographs owe more to the history of painting than photography. Day prefers digital photography to film because it allows him to adjust the image, both on the spot and on the computer. His background in painting allows him to “see the photographic image as a process” that can be continually modified.

Ernst Haas

Haas was an early innovator in color photography, Austrian-American photojournalist and color photographer. Haas bridged the gap between photojournalism and the use of photography as a medium for expression and creativity.  The use of colour in his images added a sense of joy and vibrancy to familiar, seemingly mundane moments of everyday life. His interest was very much based on the wonder and beauty of natural things, but he had no inhibitions about using photographic techniques to manipulate the image. 

My photo shoot

My photos inspired by Hass

Haas worked with colour and reflection in his photography so i took inspiration, these images were taken in natural lighting, in some images i adjusted the saturation to match Hass’ work, he says “the use of colour in his images added a sense of joy and vibrancy”. In some of my last images i didn’t edit as Haas had no inhibitions about using photographic techniques to manipulate the image. 

Martin Creed

Creed’s work takes everyday objects, throwaway materials and playful subversion of familiar spaces and asks its viewers to divine meaning through the experience of their viewing. He uses familiar objects, materials, or actions in unusual ways, this includes arranging objects by size, height or volume to create sculptural installations.

His work contains a crumpled piece of paper, tightly packed into a ball. The piece evokes the possibility and anxiety of a blank page.

contact sheets

final images

I experimented with paper, light and colour to capture these photographs. I folded, scrunched and tore paper in different ways and tested strong and weak lighting to create different shadows and I reflected colours onto the paper. I like how these images turned out as they have a variety of light and dark tones, colour and greyscale, I liked capturing the different shapes the paper created.

I particularly like this image due to the different tones of black and white and how they deeply contrast against each other. I used artificial lighting to achieve the shadows and highlights and positioned the lighting at different angles to create sharper or weaker shadows. There is repetition in this image in the folded parts of the paper between the lights and darks. The positioning of the paper combined with its folds could represent an architectural structure of a sky scraper, this relates to how Creed uses familiar, every day objects to create sculptural installations.

original image

First I opened the image and made it black and white, pressed select all and copied the image, then I adjusted the canvas size. I then pasted the image and flipped it horizontally, then I flattened the image, selected all and copied the image, adjusted the canvas size again and copied and flipped it vertically.

For this I experimented with folding paper in different ways and tearing paper to create different shapes and patterns. I then experimented with different lighting by using the flashlight on my phone to create different shadows. The shadows add more depth to the photo , it also creates contrast with the tonal difference between the light and dark.
All the photos of the paper was taken up close to the paper so that u can see all the lines and shapes created from folding the paper in interesting ways. Taking the image up close also enhanced the shadows and depth in the paper. Also it created a sense of mystery as it was not so obvious that what I was photographing was paper as it looked more intriguing.

Ralph Eugene Meatyard

Ralph Eugene Meatyard (1925–1972) lived in Lexington, Kentucky, where he made his living as an optician while creating a wide variety of photos. Meatyard’s creative circle included mystics and poets, such as Thomas Merton and Guy Davenport, as well as the photographers Cranston Ritchie and Van Deren Coke, who were mentors and fellow members of the Lexington Camera Club. Meatyard’s work spanned many genres and experimented with new means of expression, from dreamlike portraits—often set in abandoned places—to multiple exposures, motion-blur, and other methods of photographic abstraction.

Frederick Sommer

Frederick Sommer (September 7, 1905 – January 23, 1999), was an artist born in Angri (Italy) but raised in Brazil. He earned a Masters of Arts degree in Landscape Architecture (1927) from Cornell University where he met his future wife Frances Elizabeth Watson (September 20, 1904 – April 10, 1999). They got married in 1928 and they had no children. The Sommers moved to Tuscon Arizona in 1931 and then Prescott, Arizona in 1935. Sommer became a citizen of the United States on November 18, 1939. In the 1950’s, Sommer began to experiment with camera less negatives. He drew with soot, dirt and grease on pieces of glass. Below you can see two images of Sommer’s, one of a very deep and vast landscape of Arizona which includes rocks, hills, small and large shrubs and many cacti. The image is focuses close but gets less detail as it goes further back in the photo. The second image is that of his experiments in the early 1950’s with camera less negatives on a piece of glass. It includes a very random but human touch as the light comes through the drawing he made on the glass.

My Ideas

My Finalised Images

My Favorite

I like this image the most because the vibrant colours of the paperclips go well with the plain wood background. I also like how the image turned out after editing it on photoshop. I edited the brightness down and the contrast up to bring out the colours. I also adjusted the levels, curves and exposure to give a glow and contrast with the neon paperclips. I finally edited the vibrance so that the background had a richer and warmer tone.