Street photography, also known as candid photography, captures unstaged incidents often in public places. Street photography can focus on people and their behaviour in public, or used to record people’s history. However, people being featured in the image is not a necessity within street photography. For example some photographers often produce photos without people included in the frame, but their presence is suggested by the subject matter.
“Jeu de Paume” – Garry Winogrand (Circa 1980-1983)
Helen Levitt
“NYC” – Helen Levitt (1938)
Helen Levitt, born in Brooklyn, NYC, in 1913, was known as “the most celebrated and least known photographer of her time”. Whilst teaching art classes to children in the 1930’s, Levitt became fascinated by chalk drawings that were part of the New York children’s street culture at the time. This led her to buying her first camera to capture the drawings and the children who made them. This resulted in her publishing these images in 1987, naming them “In The Street: chalk drawings and messages, New York City” (1938-1947). Levitt continued to take photos throughout the 30’s and 40’s, with her work first being published in the Fortune magazine’s 1939 issue. Helen Levitt received her first grant in 1946 from the Museum of Modern Art in 1946, and received two grants in 1959 and 1960 from the Guggenheim Foundation fro her colour photography work. She then published her first major collection, “A Way of Seeing”, in 1965 and became a Photography Fellow of the National Endowment for the Arts.
Analysis of Helen Levitt’s work
“New York, 1940” – Helen Levitt (1940)
Helen Levitt started her career by taking photographs of the inhabitants of poorer neighbourhoods in New York, such as the Bronx and Harlem. Here she photographs children in the streets of their neighbourhood.
The lighting used in this image is very low and dull. This suggests natural lighting was used as there is little representation of shadows or highlights. The use of natural lighting adds a sense of rawness to the image, as she captures the scene in its pure form, almost without purpose but simply to capture the moment.
There is little example of line within the photograph, however it could be argued that the placement of the pavement can be seen as a leading line to direct the viewers eyes to the focal point of the children, and the frame.
There is no form of repetition in the photograph as the composition is not purposely set up. There is also no use of echo or reflection in the photograph for the same reason.
The only use of shape in this photograph is the geometric square shape in the centre of the frame that the children are holding in the centre third of the image. Otherwise, the shapes in the photo are all organic and don’t have any relation to each other.
There is a wide depth of field within this photograph as both the background and foreground are in focus, this provides a strong sense of depth as the environment further displays the culture and meaning behind the focal point of the children.
There is little sense of texture in this photograph, however some may say the leading line of the edge of the pavement has a more uneven and rough surface, giving the overall image a harsher texture. However this is contrasted with the smoother surface of the pavement, on which the children stand.
There is a limited range of tones in this photograph as the image has a monochrome filter. The lightest parts of the photograph are the lighter-tones clothing of the people, which is juxtaposed with the harsh, black frame in the centre of the image. The dark frame takes up the majority of the photo, causing the image to tend towards the darker tones.
There is a lack of colour in this photograph, which is a common factor for Helen Levitt’s earlier work. This is most likely because colour photography was only made accessible in the 1930’s, therefore the majority of Levitt’s work was black and white until her later work in the late 1960’s. The lack of colour accentuates the strong contrast between light and dark.
The composition of the image is unbalanced and unorganised. This is because Levitt’s main focus in this shoot was to capture the joy and interest of the children in the poorer neighbourhood’s of New York, therefore the image is not set up and captured in the spur of the moment. Although there is a lack of thirds in this photograph, the focal point (that being the black frame) is coincidentally placed in the centre of the image.
As an introduction to portrait photography, I focused on the theme of “Modern Day Heroes”. This project involved taking photographs of essential workers who helped to save and serve the public during the COVID-19 lockdown.
Photoshoot plan
Modern Day Heroes inspired photoshoot
I decided to take pictures of my mum, as she works for the Jersey Hospice Care Shop, although they were unable to open during lockdown, they were one of first retail shops to reopen in order to raise money for the Jersey Hospice Care.
I took photos of her wearing her uniform to represent her essential work and captured her wearing a face mask, as the workers were made to wear masks throughout their entire shift to keep the public safe. I thought this was an important aspect of essential workers as it proves that in a time like this, we all have to be considerate of others which proves the sense of unity that COVID-19 brought to the world, despite the tragedies occurring daily.
This image was taken approximately 20 years after World War 2, in 1963, by a Jewish photographer named Arnold Newman. The image captures a German industrialist, Alfred Krupp, posing in his factory which produced ammunition for Nazi’s during the war.
Conceptual:
This iconic image was taken almost as a form of redemption for the Jews after their tragic losses in the war. Newman gained power through his photography career to expose Alfred Krupp and his cruel business. This photo could be seen as a form of deterrent against the Germans as Newman purposely chooses to have Krupp posing in a sinister manner, and his use of harsh lighting creates bold shadows around his features to almost form Krupp as a villain. Newman shoots his camera from a slightly higher angle than Krupp to prove the power has been switched between the two of them, in his favour.
Technical:
The lighting seems artificial, and appears to be coming from above as the shadows are cast underneath the features of the face. I believe there is a wide depth of field as majority of the image is in focus, this gives the sense that the whole building is exposed and out in the open to see all that is happening within. The lighting from behind and above creates a juxtaposition between the light and dark tones in the image, with the light bringing the darkness towards you. This image has colours of low saturation for the most part and not of great quality, this suggests the image is old without context as it seems to be taken on an older camera, as the colours loose a lot of their vibrance.
Visual:
The leading lines on the ceiling draw your eyes towards the figure in the foreground, I think this is used as a distraction from what’s happening in the background. The camera is central to attract the viewers eyes to the focal point, being Alfred Krupp with his head resting on his hands and staring into the lens. the dull colours add to the gloomy tone of the image it appears to have all life drained from the entire scene as a whole. This could be seen as a metaphor for the life that was lost during the war because of Krupp’s production of ammunition.
I believe these images work well as a set due to the use of the monochromatic filter that gives the set a sense of uniformity when visualized together. All these images focus on the abstraction of nature through texture, shape and echo. Because of the reoccurring theme of nature, this also means the photos work well. They also have a similar dark, dull tone which adds to the sense of unity of the photographs.
Frederick Sommer, born in 1905, was an Italian-born photographer raised in Brazil. He was considered a master photographer, as he started his love for art in photography in 1931. He originally explored his creative trait through watercolour ink and paper but later discovered his passion for photography in 1938, when he acquired an 8×10 Century Universal Camera. Sommer was a self-taught photographer who experimented with wild concepts for his creative work, he worked with materials as extreme as coyote bones and chicken parts. Frederick Sommer often mixed the two concepts of landscape, portrait and abstraction in his work, for example his portrait of Max Ernst, in my opinion, contains all three elements. Sommer’s landscape work of the vast desert he lived in is considered to be his most extravagant and impressive images, he referred these images as “constellations”. Frederick Sommer later died in 1999, in the desert in Arizona where he lived due to medical issues.
Analysis of Frederick Sommer’s work:
“Constellation Arizona” – Frederick Sommer (1943)
light: The natural sunlight of the image allows areas, such as the walking path, to be highlighted amongst the masses of trees and plants. As the sunlight is coming from above, harsh shadows are cast under them which contrasts against the blinding path.
Lines: There is a pandemonium of unorganised lanes scattered across the image in a chaotic manner, therefore they do not lead to a specific focal point.
Repetition: The only form of repetition in this image is the constant cluster of trees running through the photo, however there is no definite pattern.
Shape: The shapes in this photograph are organic and unorganised, giving the image a chaotic appearance.
Space: There is a wide depth of field to this image as the majority of the photo is in focus, there is also no negative space in the photograph as the whole image is busy in all areas.
Texture: The photo appears to have rough texture, as the trees and plants create a harsh, bumpy composition, however this is contrasted against the smoother and less harsh texture of the path running through the image.
Value/Tone: There is a varied tone from dark to light in this photograph as the darkness is concentrated around the middle third, however there are also scattered tones of darkness amongst the light, therefore I believe the tones are balanced.
Colour: The lack of colour in the image enhances the light and dark tones in their natural form.
Composition: As the photo is a natural landscape, the composition is very unorganised and organic. The rule of thirds could possibly be seen in the middle third, with dark areas concentrated here, but there is no recognisable geometric shapes in the image in order to understand the composition.
Minor White
“Matchstick Cove, San Mateo County, California” – Minor White (1947)
Minor White, an American photographer, theoretician, critic and educator, was born in Minnesota in 1908. His interest in photography began in 1937, as he combined his passion for philosophical theories with taking photos. He was influenced by how people would view photos differently on a personal level, which then began his photography career in black and white and colour landscapes. White created thousands of photos focusing on all areas of landscape, portrait and abstraction before he died in 1976, he also taught photography in many schools across America in his lifetime. His images create a string sense of juxtaposition in the sense of light and dark.
Analysis of Minor White’s work:
“Ocean, Schoodic Point, Maine” – Minor White (1968)
The natural lighting in this photograph is reflected onto the water to create and intense highlight running through the middle third of the image. It also allows harsh shadows to be cast either side of the highlighted water to create a juxtaposition of light and dark.
The leading lines of the two cliffs direct the viewers eyes to the middle third of the photo, this creates the focal point of the glistening water, the harsh lighting also accentuates this. There is also a repetition of jagged lines in the image that appear in the cracks of the cliffs.
There is a repetition of line used in this image, but in a more organic sense. The natural cracks in the rocks are present throughout the image, aswell as the curved lines within the curves of the waves.
The shapes in this photograph are organic and curved, however there is a sense of sharpness in the jagged rocks and cracks within the rocks.
There is a strong depth of field in this image, as the foreground of the cliffs are significantly clearer compared to the background, which is concealed by fog. The darkness of the cliffs create a negative space which acts of a kind of border to the natural chaos of the waves.
The image portrays a rough texture as the sharpness of the rocks is contradicted against the curved waves. The surface of the rocks is uneven and organic, which adds to the coarseness of the photograph.
There is a range of tones from dark to light in this photograph, as the highlights and shadows juxtapose each other. The darkest area of the image is the rocks towards the left and right third, which act as a border to the lightest areas of the image, that being the waves in the middle third of the photograph.
The monochromatic format of the photograph allows the viewer to focus on the highlights and shadows of the image,as well as the shape formation, rather than the colours.
The image has a balanced appearance as the dark and light tones are evenly distributed throughout the image. For example, the dark tones are concentrated around the edges of the image, which then surround the lighter tones concentrated in the middle third.
Comparison of White and Sommer’s work
Frederick Sommer and Minor White share similarities in there landscape work, especially the use of the monochromatic format towards their images, as they focus on tone and shape rather then colour. They also capture the chaotic composition of nature in it’s purest form, as well as the juxtaposition between light and dark.
Alternatively, White’s image here specifically focuses on depth of field and blurring out the background in order to create a focal point, whereas Sommer captures the landscape as a whole and rejects the use of a singular focal point. The juxtaposition between light and dark is much harsher in the work of White compared to Sommer, which suggests that White’s image became over exposed possible from using a wider aperture.
Born in Pittsburgh, Pennsylvania, Saul Leiter was a painter and photographer who started his career in the 1940s and 1950s. He left theology school and moved to New York to pursue painting at age 23, this is also where he found his love for photography. In the 1950’s, Leiter held his first colour photography exhibition at the Artist’s Club, where groups of Abstract Expressionist painters would meet and admire other work. Leiter furthered his career as a fashion photographer throughout the 1970’s, he worked for publications such as Elle, British Vogue and Nova. The Saul Leiter Foundation was founded in 2014, a year after Leiter passed away, this was dedicated to preserving the art and legacy of Saul Leiter.
Analysis of Saul Leiter’s work:
“Taxi” – Saul Leiter (1957)
Light- The lighting in this image seems artificial as harsh shadows are created in both the foreground and background of the photograph. The lightest areas of the image are the vibrant colours of the car roof, these areas are juxtaposed against the gloomy shadows inside the car and in the foreground.
Line- The lines in the image are rather geometric and artificial, however they create a contrast as the curved lines blend with the straight lines. The lines lead your eyes to the direction of the shadows cast under the roof of the car, and to the dimly-lit figure inside the car.
Repetition- There is a repetition of curved and straight line in this image, which creates a geometric shape to the image.
Shape- The shapes in the image are geometric, this give the image an artificial aesthetic.
Space- The image has a wider depth of field, as the foreground is blurry, however the background is in focus. There is a rather a large sense of depth in the photograph.
Texture- The texture of the metal gives the photograph a smooth appearance, the highlights on the roof also add to the smoothness of the image.
Value/Tone- The image has an extreme contrasting range of tone, as the vibrant colours of the car clash with the muted shadows in the shadows and the figure’s clothing. The lightest part of the photo is the colours of the car and the darkest areas are in the shadows. Overall, the image tends towards the darkness.
Colour- The coloured parts of the image are very vibrant and intense. They display the harsh primary colours of red and yellow, which are jarring when placed next to one another.
Composition- There is a simple composition to the image as it doesn’t seem busy. There is not much going on in the image, and the photo focuses on the juxtaposition of light and dark , and colour and black and white, rather than the composition. The rule of thirds has not been used in this image, in my opinion.
Alfred Stieglitz, born in 1864, was an American photographer and art promoter who’s carer spanned across 50 years. Although Stieglitz didn’t study photography at collage, his became very successful in the photography world. He was known for the New York art galleries that he ran in the early 20th century, and regularly wrote for The American Amateur Photographer magazine. He won awards for his photographs at exhibitions, including the joint exhibition of the Boston Camera Club, Photographic Society of Philadelphia and the Society of Amateur Photographers of New York.
Analysis of Alfred Stieglitz’s work
“Songs of the Sky” – Alfred Stieglitz (1924)
The natural lighting of the image allows the natural repetition of the clouds to be highlighted in its most natural form. The brightest areas are the pure, white clouds that separate the darkness of the sky. It is difficult to tell if the light source of the image is the sun or the moon, as the photograph lacks colour, however as the clouds are visibly bright, I believe the photo was taken in daylight.
The clouds act as leading lines in the photograph, as they direct the viewers eyes from the bottom third, to the top third of the image. The organic lines are thick and random, which gives the image an unorganised appearance.
The thick lines of clouds create a pattern of repetition within the image. The scattered lines form an upwards direction for the viewer, it creates almost an echo effect as the lines begin to fade as the ascend.
Although the structure of the image is very organic and natural, there is a sense of geometric lines within the clouds, as the repeated lines are not completely curved.
There is a wide depth of field in the photograph, this suggests a smaller aperture has been used to take this photo, and because of the image having under-exposed lighting. A higher ISO may have been used for this photograph to achieve the pure whiteness of the clouds, and a fast shutter speed may have been used so the movement of the clouds is not captured.
The photograph displays a softer texture because of the clouds. The delicate curves in the clouds lack sharpness, which provides the softer aesthetic.
There is a wide range of tones between light and dark in this photograph even though the image is monochromatic. The varying shades of black, white and grey allow the extreme contrast of light and dark to be highlighted in the photo.
The lack of colour in the image provides a more vintage aesthetic, and further accentuates the juxtaposition between light and dark. This is also provided with the extensive range of tones between black and white.
The composition of the photograph is organic and disorderly, as the clouds provide their own, upwards path. There is no distinct shapes formed in this image, which makes it difficult to understand the composition. However the clouds coincidentally form line shapes which are messy, rather than purely straight.
My response to Alfred Stieglitz’s work
Photoshoot plan:
Alfred Stieglitz inspired photoshoot
The images in green, in my opinion, are the most successful for this photoshoot as they project the contrast of light and dark in the sky as Stieglitz did in his work. They also capture the patterns of the clouds and the warming colours of the sunset.
The photographs in red are the least successful from this photoshoot as they are either under-exposed, or they don’t capture the patterns of clouds as seen in the work of Alfred Stieglitz.
Photoshop developments
Original ImageEdited using black and white filter and curve adjustmentsOriginal ImageEdited using black and white filter and levels adjustmentsOriginal ImageEdited using black and white filter and curves adjustments
I believe my photographs share similarities with those of Alfred Stieglitz, as they capture the natural pattern of the clouds, as well as their bold tones. I used the black and white filter in the style of Steiglitz’s work, and then used curve and level adjustments in order to achieve the significant contrast between light and dark.
Jaromir Funke
“Composition” – Jaromir Funke (1927)
Jaromir Funke, born in 1896 in the Czech Republic, was a leading figure in Czech photography throughout the 1920’s-1930’s. He was recognised for his work that focused on the use of light and shadows. He often used glass and mirrors to create patters and echoes in his unique photographs. During his career, Funke published editorials and critiques about photography. He became a freelance photographer in 1922 and two years later he, along with two other photographers, created the Czech Photographic Society. Jaromir Funke headed the photography department at the School of Arts and Crafts in Bratislava between 1931-1935, he then taught at the School of Graphic arts in Prague until 1944. Funke later became an editor of the journal “Photographic Horizons” for several years. He published a number of works including “Od fotogrameuk emoci” which is understood to be his manifesto.
Analysis of Jaromir Funke’s work
(Untitled) From the series “Abstract Photo” – Jaromir Funke (1927-1929)
The artificial lighting allows for the contrast between light and dark within the shadows and highlights. The lightest areas include the top corner of the paper and the light surrounding the shadows behind the paper. The lighting is rather harsh, as bold shadows are formed in juxtaposition to the illuminated shadows.
The lines in the image are straight and geometrical. The distinct edges of the paper cast organised and clear shapes into the background, these lines cross over each other and merge into one another.
It could be said that a repetition of line is used in this photograph, as there is a multitude of straight lines and shapes. However, these lines are not organised into a distinctive pattern. The shadows formed by the lighting could be seen as a form of echo in the photograph.
The shapes formed in the foreground image are geometrical, they form echos in the form of shadows onto the background of the photograph. The square-shaped mirrors form merged shapes in the background.
There is little sense of depth of field in the photograph as the whole image is rather grainy and slightly out of focus. However there is no difference in depth between the foreground and background, therefore the photograph has a wide depth of field. The image seems under-exposed, this suggests that a smaller aperture has been used.
Overall, the image tends towards darkness, which gives the image a gloomy aesthetic. There is minuscule range of tone between light and dark within photograph, there is no pure black and white in the image as the photograph has a slightly yellow hue to it, therefore the lightest tone is more of a cream colour rather than white.
There is no colour to this image. This allows the simplicity of light and shadows to be highlighted as well as the aspect of shape. However the artificial lighting provides a yellow-toned hue for the image, which gives the photograph a vintage appearance.
The mirrors in the photograph are organised so that their shadows blend into one another, creating a merged shape of the two. I would say the image is unbalanced as the mirrors are held at an angle, rather than straight on. The composition of the mirrors almost forms a pyramid shape as the mirrors lean against each other. There is no rule of thirds used in this image as the focal point of the mirrors is not central.
My response to Jaromir Funke’s work
Photoshoot plan:
Jaromir Funke inspired photoshoot
The images highlighted in green, in my opinion, are my most successful photographs because the mirrors/glass project contrasting, geometrical shadows onto the surface behind. They also capture the slightly discoloured hue of the lighting, which is seen in the work by Jaromir Funke.
The photographs highlighted in red are not as successful for multiple reasons. Some don’t capture the bold shadows that I wanted to achieve in my images and some are slightly out if focus, so the quality of the image isn’t as sharp as it should be.
Photoshop development
Original ImageEdited using curves and level adjustmentsOriginal ImageEdited using saturation, exposure and curves adjustmentsOriginal ImageEdited using brightness, contrast and curves adjustments(Previous image) Edited using black and white filter and colour hue adjustments
I believe I have recreated Jaromir Funke’s work successfully whilst adding my own style to the images. My images share similarities with those of Funke, for example the simplicity of the objects chosen in order to create geometric echoes and shadows. However my images have an almost yellow hue to them, because of the artificial lighting used. I tried to remove this by making the image monochrome, which is why I believe my last edit is my most successful recreation.
Part of “Manufactured Gestures” series- Nick Albertson (2012)
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
Part of “Manufactured Gestures” series- Nick Albertson (2012)
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
“Chicago” – Harry Callahan (c.1950)
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-
“Detroit” – Harry Callahan (1941)
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.
The aspect of “Surface and Colour” involves the changing of ISO settings on a camera in order to alter the saturation of the photograph, or exaggerate the contrasting surfaces of the photograph.
Eileen Quinlan
“Sophia” – Eileen Quinlan (2012)
Eileen Quinlan was born in 1972 in Boston, Massachusetts. Quinlan is a self-described still-life photographer who is often regarded as one of many artists who revisits late modernism. Eileen Quinlan received her Bachelor of Fine Arts in 1996 from the School of the Museum of Fine Arts, when she attended Tufts University in Boston. She then achieved her Master of Fine Arts in 2005, from Colombia University. Before developing her distinctive style, Quinlan explored elements of both landscape and portrait photography, until she got into the photographic style she uses now. In the early days of her career, she began experimenting with the use of smoke in her abstract photos, this then paved the way for her signature style now.
Analysis of Eileen Quinlan’s work:
“Red Edges” – Eileen Quinlan (2007)
Light- I think artificial lighting has been used in this image in order to achieve the strong, contrasting shades. The darkest areas of the image are in towards the bottom left and top right of the image, the lightest parts of the softer shades of pink surrounding the dark areas.
Line- There is a pattern of straight lines in the image, they cross over each other in diagonal directions. The lines separate the different shades in the image.
Repetition- There is a repetition of straight lines in the image to give the image a geometrical composition. There is also a repetition of colour in the photograph, as the colour of pink is repeated but contrasted with the use of different shades.
Shape- The artificial set up of the image creates geometrical shapes in the photo. There is an echo of straight-edged triangular shapes in the image.
Space- The photograph has a wide depth of field in the photo as all parts of the image are in focus. However the image is rather flat so it is difficult to compare the depth of the background and foreground.
Texture- There is a range of textures to the photo, as different shades of pink has a smooth texture, especially the lighter shades. On the other hand, the folds in the darker shades give off a rougher texture.
Value/Tone- There is a range of tones in the image that vary from light to dark in this photograph. The constant use of pink changes tone in multiple areas of the image to create a juxtaposition of colour.
Colour- The tone of colour in the image is very vibrant, especially in the darker shades of pink, which is combined with lighter shades of pink in a geometrical pattern. There is also a section of blue in the image to contrast the shades of pink altogether.
Composition- The artificial composition of the image provides geometrical shapes, especially triangles. There is no rule of thirds used in the image and there is also no focal point, in my opinion.
My response to Eileen Quinlan’s work:
Photoshoot plan-
Eileen Quinlan inspired photoshoot-
Photoshop Development:
Original ImageEdited using Photoshop
To edit my photos, I used the colour mixer and photo filter to add a pink hue to image, to make it more similar to the work of Eileen Quinlan.
I used paper to recreate Quinlan’s work, by layering, ripping and cutting the paper to form geometrical shapes in the style of Eileen Quinlan’s style.
Ernst Haas
“Twin Towers Reflection, New York City, New York” – Ernst Haas (1975)
Ernst Haas, an Australian-American born in 1921, was both a photojournalist and colour photographer. Haas was an early innovator for colour photographer, who’s images were featured in magazines such as “Life” and “Vogue”. Haas’ work was also featured in the fist single-artist exhibition of colour photography at the Museum of Modern Art in New York. In 1971, he published his photography book, “The Creation”, which was one of the most successful photography books and sold 350,000 copies.
Analysis of Ernst Haas’ work:
“Oil Spill, NYC” – Ernst Haas (1952)
Light- The lighting used in this image is seemingly natural, and appears to be taken in daylight on a rainy day. The light catches the colours swirling in a circular formation on the wet road, and also casts a brooding shadow next to the oil spill.
Line- There is little example of patterns of lines in this image, however the oil spill provides an echo of circular lines that almost hypnotise the viewer.
Repetition- There is of circles that create a tunnel-like affect from the oil puddled on the road. The circles echo in a mesmerising formation.
Shape- The geometric shape formed in this image os the repetition of multi-coloured circles forming due to the oil on the road. The shape of the circle is organic and not artificially set up by the photographer.
Space- There is a wide depth of field to the image as the whole photograph is in focus. The negative space around the focal point draws the viewers eyes to the oil spill, rather than the area around it. The reflective water on the ground gives the image a shiny appearance.
Texture- There is a range of textures in the image, as the water on the ground gives off a shiny, smooth texture, however the bumpy surface of the tarmac makes the texture more rough.
Value/Tone- There is a varied tone to the photograph, as the ground around the oil is dull and dark, however the splash of oil adds a contrasting pop of colour to the image. The colours of the oil spill are vibrant and give off a tie-dye look. The darkest area of the image is the shadow formed next to the oil.
Colour- The majority of colour featured in the image is in the oil spill. The colours tunnel into a spiral affect and reflect vibrant patterns of circles. These colours are juxtaposed against the gloomy, dark ground.
Composition- The organic composition features a geometric, circular pattern in the top right third of the image, this is used as the focal point to the viewer as it is the signifying contrast in the photograph.
My response to Ernst Haas’ work:
Photoshoot plan-
Ernst Haas inspired photoshoot-
The photos highlighted in red are my least successful images because they are either too over-exposed or too under-exposed. This is because the change in ISO and white balanced has decreased/increased the amount of light entering the lens, this makes the images too dark or too light.
The images highlighted in green are my most successful images because they relate to Ernst Haas’ work the best. I tried to capture the change in texture with the raindrops falling onto different surfaces. I also wanted to recreate Haas’ work with the reflections in puddles also.
Photoshop Development:
Original Image
Edited using cropping, black and white filter and curve adjustments.
Original Image
Edited using black and white filter and levels adjustments
Original ImageEdited using cropping, black and white filter, and curves adjustments
I believe I have recreated Ernst Haas’ work well with the use of capturing reflections and contrasting textures. I adjusted curve levels in these images to intensify the contrast between light and dark. I cropped the images in order to create a focal point for the viewer. I feel like my first edited image is my most successful because it uses Haas’ method of reflection to create a mirror-like affect.
To edit this image, I copied and pasted the image onto a canvas that was double the size of the original image. I then used the transform setting to flip the image vertically to create a reflection-like affect, I flattened the image after each layer-copy aswell. I used a monochromatic filter to accentuate the shades of light and dark.
Experimenting with layers
Original ImageEdited Image using Photoshop
To edit this image, I repeated the same process in the first image to create the mirror affect, however for this image I copied and pasted the original layer back onto itself and lowered the opacity to create a ghost-like affect. I then used the eraser tool at a low harshness and opacity in order to remove extra sections of the image I wanted to remove, such as the added border of the copied layers. I adjusted the colours and curves of the image to give the photograph a cool-toned blue hue.
