Arnold Newman was an American – Jewish photographer who was most known for his ‘environmental portraits’. In the photograph above, his subject is Alfred Krupp, a German industrialist who benefited heavily from the use of Jewish slave labour during World War 2. One theme in this photograph is religion and ideals, as Krupp and Newman have ‘conflicting’ beliefs and values, which makes the photograph even more eerie and unsettling than it already appears to be. Further more, Krupp’s face could indicate that he is looking at Newman and not at the camera, as his expression is foreboding and threatening.
Newman has manipulated the composition of this photograph in order to frame Krupp in the middle with the two pillars either side of him, and symmetrical shapes in the background. Additionally, the colours in the photograph are dark and muted as a way to mirror Krupp himself, and the things that he’s done. There is natural light shown from above Krupp’s head, which creates an image of a church or cathedral, which relates back to the theme of conflicting religions and ideals. Also, Newman is looking down on Krupp from his position behind the camera, which could be interpreted to mean that he is figuratively ‘looking down’ on him, as a way to belittle and judge him for the things he did to other people of his religion during World War 2.
The phrase ‘candid portrait’ is often used to refer to the type of portrait taken when the subject is unaware of the photographer. This is usually seen in the genre of street photography. Typically, street photography is about candidly capturing life in public areas. And contrary to its name, street photography does not have to be done on the streets. You can do street photography anywhere. Street photography can focus on people and their behavior in public, therefore also recording people’s history. This involves having to also navigate or negotiate the changing expectations and laws of privacy, security and property. In this sense the street photographer is somewhat similar to a social documentary photographer or a photojournalist.
An environmental portrait is a portrait executed in the subject’s usual environment, such as in their home or workplace, and typically illuminates the subject’s life and surroundings. The term is most frequently used as a genre of photography. By photographing a person in their natural surroundings, it is thought that you will be able to better illuminate their character, and therefore portray the essence of their personality, rather than merely a likeness of their physical features. It is also thought that by photographing a person in their natural surroundings, the subject will be more at ease, and so be more conducive to expressing themselves, as opposed to in a studio, which can be a rather intimidating and artificial experience.
Unknown
Daniel Korzeniewski
Anders Erriksson
ACTION PLAN
WHO – I will be photographing people in their working environment.
WHAT – I will be taking photographs of the subject’s natural working environment including any tools / equipment that they are using.
WHERE – I will be taking my photographs at my place of work, at the Central Market, the Fish Market, and florists.
WHEN – I will be taking photographs over the next few days whenever I have the opportunity to go to the different locations or whenever is the most convenient for the people I will be photographing.
WHY – I will be taking these photographs in order to showcase different lifestyles and areas of work.
MIND-MAP
MY RESPONSE
My thought process behind this particular shoot was that I wanted the subject to be the main focus of the photograph, so I used a plain white background in order to keep the viewer’s attention on the subject. I used fairly natural lighting because I wanted the images to appear light and soft, as opposed to the harsh and dark effect I would’ve gotten if I had used artificial lighting. I placed the subject in the centre of the photograph, again to keep them as the main focus. I experimented with different angles to give each image a unique look and feel, and to avoid capturing the same image over and over again.
As I used different angles, I also managed to change the amount of free space in the photograph which was not used up by the subject. I tried leaving more room above them, below them and to either side of them in order to make each image look different. Additionally, I explored different depth of fields by using a varying range of angles. Again, I did this in order to make each photograph appear different and individual.
Portrait photography, or portraiture, is a type of photography aimed toward capturing the personality of a person or group of people by using effective lighting, backdrops, and poses. There are many different types of portrait photography, including; traditional, lifestyle, environmental, candid, street, glamour, fine art, conceptual and surreal.
Benny Migliorino
Unknown
Steve McCurry
Dorothea Lange
Eric Lafforgue
Unknown
Arnold Newman
Unknown
Giulio Sciorio
IMAGE ANALYSIS
August Sander | Bricklayer | 1928
August Sander chose to photograph this bricklayer as a part of his work ‘The People of the 20th Century’. His aim was to show all walks of life including doctors, farmers, chefs etc., in a post – WWI Germany. Sander’s photographs were the first body of work to document a culture through photography. In this photograph, the main point of focus is the man’s head, as it is being framed by the layers of bricks stacked behind him. However it could be argued that the bricks are actually the main focal point, as the man’s face is blurred, which contrasts to the in-focus bricks behind him. The way that the bricklayer is holding himself suggests to the viewer that he is proud of his profession and lifestyle, as his stance is very intimidating and authoritative. The lighting in this image appears to be coming from the upper right hand corner, and is casting a shadow across the bricklayers body whilst also illuminating and highlighting his head and the bricks stacked behind him, which again draws the viewer’s eye to these particular points of focus. There is a varying range of shadows across the photograph, with dark shadows being casted across the lower half of the man’s body on the left side of the image, whilst the right side and upper half is well-lit.
Ralph Eugene Meatyard ( 1925 – 1972 ) was an American photographer from Normal, Illinois, U.S. 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. When he turned 18 during World War II, he joined the Navy, though he did not have the opportunity to serve overseas before the war ended. Meatyard purchased his first camera in 1950 to photograph his newborn first child, and worked primarily with a Rolleiflex medium-format camera. He took up membership of Lexington Camera club in 1954, and at the same time joined the Photographic Society of America. Much of his work was made in abandoned farmhouses in the central Kentucky bluegrass region during family weekend outings and in derelict spaces around Lexington.
ZEN TWIGS
In this series of photographs, Meatyard has experimented with the different aperture settings on his camera in order to create the blurry background whilst still keeping the main subject in focus. The harsh black and dark tones of the subject contrasts to the white and brighter range of colours that can be seen in the background. Meatyard has avoided photographing rough and straight lines, instead choosing to look at the naturally occurring shapes that appear in the trees. This gives the images a softer look and feel, even though the contrasting tones could suggest otherwise. The blurred branches present in the background also adds to this effect. The fact that the main subject of the photograph is the only thing which is in focus draws the viewer’s eye to it, creating a focal point. Additionally, most of the subjects appear to be in the centre of the image, creating an equal amount of space on all sides, therefore making the photograph more aesthetically pleasing to the viewer’s eye.
Ernst Haas (1921 – 1986) was an Austrian – American photographer who is widely considered to be a pioneering figure in the art of colour photography. His images have been featured in publications such as Life magazine and Vogue. In addition, his photographs were the subject of the first single – artist colour exhibition of colour photography at New York’s Modern Museum of Modern Art in 1962.
Photographs Captured by Ernst Haas
Luigi Ghirri (1943 – 1992) was an Italian photographer who gained a reputation as a pioneer and master of contemporary photography, with its particular reference to its relationship between fiction and reality. Ghirri’s work quickly attracted international attention. In 1975 Time-Life included him in its list of the “Discoveries” of its annual Photography Year publication, and he showed at the Photography as Art, Art as Photography exhibition in Kassel.
Photographs Captured by Luigi Ghirri
Aaron Siskind (1903 – 1991) was an American photographer whose work focuses on the minor details of its subject/s and presents them as a flat surface to create a new, independent image. Siskind used things from the real world in his photographs: close-up details of painted walls and graffiti, asphalt pavement, rocks, lava flows, ancient statues and the Arch of Constantine in Rome.
Photographs Captured by Aaron Siskind
MOOD-BOARD
MIND MAP
MY RESPONSE
In this photo shoot I was inspired by the works of Aaron Siskind and Saul Leiter, who captured images of the condensation on windows and close up shots of different textures and surfaces. I attempted to use a range of angles throughout my photographs in order to make them more interesting for the viewer to look at. My process was to photograph anything colourful that caught my eye, which led to some unusual subjects such as plastic bags and paper towels. I also took inspiration from The Boyle Family, whose images are a bird’s eye view of various surfaces, mainly roads and pavement corners. I used mainly natural lighting in this photo shoot in order to keep the photographs as realistic as possible. I liked that in some of my images the light would reflect off of the subject, such as my photographs out of a car window, however in those images the lighting was artificial as it came from the headlights of other cars, creating a glare effect. As one of the main themes for this photo shoot was colour, I aimed to incorporated it as much as I could into my photographs. I did this by placing certain colours next to each other, making sure that they complimented one another. To help me see which colours went best together, I used a colour wheel. I also aimed to show different shapes and lines by including objects with harsh, straight lines (books) and organic, curvy lines (ribbon). Additionally, I experimented with different patterns, as seen in the photographs of the yellow coat, where I pulled back the hood to show the stripes on the inside. For the composition of my photographs I tried to use a varying range of layouts and arrangements, such as the subject being in the middle of the image, at the top or bottom, or at either side. I also explored different distances of the camera from the subject, such as far away and up close.
To start with I selected my image and copied it. I then increased the canvas size to double the width and length of the original. I pasted my image and flipped it vertically and lined it up so that it was even to my original image. I then selected both images together and flipped them horizontally, creating the mirrored effect.
Both of these photographs are devoid of any colour and shot in black and white, making them appear old and dated. Additionally, they both are very abstract in nature, with Coburn photographing glass, crystalline shapes with the use of kaleidoscopic contraption, and Stieglitz photographing the patterns that he sees in the clouds above him. However, there are some major differences between the two images. For example, Coburn’s photograph consists of harsh, straight lines which run across the entirety of the image, with the leading, geometrical shapes drawing the viewer’s eye into the centre of the image. On the other hand, Stieglitz’s composition is made up of soft, organic, and curved lines which show the natural direction the wind in the sky. It is a much more relaxing photograph to look at, because it is pure and real, unlike Coburn’s image which had to be manhandled and manipulated in order to achieve. Technically, the lighting in both of the photographs are similar, with each of them being lit in a low light. However, it is clear that Stieglitz’s image was taken using a natural light source as the photograph is of the sky, and Coburn’s lighting was most likely artificial in order for him to ensure that the reflections were placed precisely where he wanted them to be. Also, in Stieglitz’s photograph, there appears to be a lot more empty and negative space compared to Coburn’s, whose subject takes up the entire frame.
Keld Helmer – Petersen was a Danish photographer who received worldwide recognition for his coloured photographs. He also published several books full of black and white images where all the mid – tones had been removed.
Photographs captured by Keld Helmer – Peterson
MY RESPONSE
I firstly selected four images from my previous photoshoot inspired by Albert Renger – Patzsch’s ‘The World is Beautiful‘. I then opened Photoshop and experimented with the threshold tool in order to remove all the mid – tones and leave only black and white in the images. In my first photograph, I also experimented with the cropping tool so I could make the image smaller, and so I could get rid of parts of the image that I didn’t like. In the third picture, the threshold tool emphasised the shadows which were present in the bottom left of the image, and created a whole new area of black colour. The same happened in the second photograph, with the shadows casted by the dials on the oven being accented.
Albert Renger-Patzsch (June 22, 1897 – September 27, 1966) was a German photographer associated with the New Objectivity. He was born in Würzburg and began making photographs by age twelve. In the early 1920s, he worked as a press photographer for the Chicago Tribune before becoming a freelancer and published a book in 1925, The choir stalls of Cappenberg. He had his first museum exhibition in 1927. A second book followed in 1928, Die Welt ist schön (The World is Beautiful). His best-known book is a collection of one hundred of his photographs in which natural forms, industrial subjects and mass-produced objects are presented.
The New Objectivity (Neue Sachlichkeit) was an art movement of the 1920s and early 1930s. It was in part a response to WW1, which had left many people feeling devastated by the worldwide poverty and destruction left in the wake of the war. The movement began in Germany, with George Grosz, Otto Dix and Kathe Kollwitz being some of the most notable participants. Documentary photography became increasing popular, as artists found it to be the ideal way to capture an ‘objective reality’. They used the art form to show off gritty subjects from real life, and to express the truth of their surroundings in a post – war world.
Albert Ranger – Patzsch | The World is Beautiful
IMAGE ANALYSIS
The bridges between the buildings in this photograph create geometric triangle shapes which draws the viewer’s eye to all the blank negative space in between them. The lines created by the buildings are very clear and sharp, which contrasts with the background of the photograph, which is blurry and organic in its shape. The tone of this image is fairly bright, with the white sky being plain and without any shadows. Additionally, the colour of the sky contrasts to the dark and harsh lines of the building. Patzsch has used natural lighting in this photograph, as you can see the natural shadows cast on the side of the building. Repetition is clearly shown in this photograph, as the panes of glass in the many windows create a repetitive pattern across the entire image. Also, the bricks in the side of the building closest to the camera are clearly visible, making another repeating pattern. The black and white colours are both evenly shown, with one not overpowering the other. This creates a more balanced photograph and makes it more appealing to the viewer’s eye, as they are able to focus on one colour without being overwhelmed by the other.
MY RESPONSE – CONTACT SHEETS
My thought process for this photoshoot was to take inspiration from Patzsch and his way of photographing things that would normally be considered boring or dull. For example, I took pictures of the corners that connect the walls in my house and the cutlery in my kitchen drawers. Although the objects in my photographs appear to be random, I thought carefully about what I was taking pictures of, and about how I could make them look more interesting by using distance, light and composition. Throughout the shoot, I experimented with different technical elements such as numerous angles and tone, and I tried not to take the same picture twice ( I wanted to keep all my photographs different from each other ). I took photographs of anything that caught my eye, and wasn’t looking to make my images ‘perfect’. I attempted to link Patzsch’s work on The New Objectivity to my own photographs by researching and reading about his intentions and his processes.
BEST IMAGES
FINAL IMAGE
I chose the photograph as my final image because I think that it reflects Patzsch’s work the most accurately. The contrast in the colour between the bright sky and the dark, harsh tones of the scaffolding imitate Patzsch’s composition in his images. The straight lines across the photograph create geometric shapes which deviate from the more natural, organic configuration of the trees in the background. Additionally, this photograph has a lot of depth to it, making it more aesthetically pleasing for the viewer to look at. I wanted to use natural lighting in order to keep the essence of The New Objectivity, as the movement is about capturing the world as you see it. I also thought carefully about the compositional features, such as the my angles and the distance of the subject from the camera. I did this so I could create and interesting photograph. In order to get the black and white effect, I used a feature on my phone which placed a filter on all of my images.
