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.
Exploring with ISO settings-
I photographed the woods in different IOS settings. As you can see the lower the IOS setting was , for example in the first photo it was 400, the less light got in and it was very dark and almost all black. I then photographed it each time I increased the IOS setting and as you can see the photo got much more lighter and the last photo turned out almost white.
SURFACES-
Ernst Haas- Ernst Haas was an Austrian-American photojournalist and color photographer. During his 40-year career, Haas bridged the gap between photojournalism and the use of photography as a medium for expression and creativity.
He focuses on a variety of surfaces such as roads, reflections in mirrored buildings or even water. My process for this photo shoot will be to take photos of different parts of a road such focus on the surface of the pavement and even certain areas like a zebra crossing. I will also photograph reflections in puddles or windows and if it rains then keep the background out of focus and make the raindrops the main focus.
My response-
AARON SISKIND– Aaron Siskind was an American photographer whose work focuses on the details of things, presented as flat surfaces to create a new image independent of the original subject. I was inspired by the photographs he took of the roads and all the different broken textures. I’m going to take own photos in the style of Aaron Siskind as his work fits perfectly into the theme of texture.
Here’s some of my favourite photographs he’s took-
RESPONSE- CONTACT SHEETS
My main focus during this photoshoot was to take photos and capture different textures I could spot in the woods. For example, I took photos of various parts of broken woods and trees, the reflection in the small stream and several branches. I took photos of extremely tall trees from a much lower angle in order to create the illusion of the tree looking right over the person looking at my photograph, this also makes the tree seem much bigger than it actually is. While I was doing that I was using different IOS settings, as you can see in my contact sheets I had to take the same photo a couple of times to get the perfect lighting with the IOS setting. The darker the setting was the more details you could see on the tree barks and cores as the colour was much sharper and you could see the patterns on them a lot more clearer. I also took photos of corners of roads as I wanted to take photos in the style of Aaron.
My favourite photos
EVALUATION-
I really like how my photo shoot in the woods turned out because I wanted to focus on the different textures and reflections in the stream as well as exploring the different IOS settings. I was inspired by Aaron because he captures texture in a different way such as paint or wood peeling off different walls which is why I wanted to photograph the broken tree barks and photograph them up close. By changing the IOS settings it made a big difference in how much detail you could see in each photo and how much light was getting let in.
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
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, 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.
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.
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.
Alfred’s photograph was taken in 1925, it is of a dark blue sky with light clouds and was taken for Alfred’s project on ‘Equivalents’. The background is underexposed bringing the viewers attention primarily to the white, soft clouds. It uses natural lighting but evidently a low ISO has been used as there is a bit of a grainy texture to the dark, blue tones. The photographs creates an atmosphere of cold, neutral atmosphere due to the primary colour blue being used which emphasizes a wintry climate. The photographer has powerfully used the rule of thirds evidently situating the subject bottom center. It also creates this sense of the Divine due to the bright, white gleam coming through the clouds; a sort of sign from Above (literally).
In the second shot which was captured by Ernst Haas in Los Angeles around the 1950s. It is an abstract, black and white shot of soapy water with a variety of rich, black and white tones. By the “painting” effect in this image, the viewer can clearly see that the artist has used a slow shutter speed in order to capture movement and create this dreamy, abstract shot. The contrast between white and dark tones creates an illusion of the ocean; as if the picture was taken from above at the beach, these tones also suggest that the photographer has used artificial lighting to compose this image and make them fuller and richer. The way the picture is formatted gives the impression that this picture was taken from above with a still camera as the image is quite flat with no edges, and shows no signs of shake. Finally, both images have showed an understanding of depth of field as they are both close-ups of a specific subject.
In terms of similarities, both are digital images taken by a male photographer using a camera in the 20th Century. Both images portray a dream atmosphere and create a sense of simplicity and relaxation for the viewer through the use of light tones. These two images have powerfully explored dark and light tones and follow a repetitive patter. For example, Alfred’s follows a repetitive pattern with the clouds and Ernst’s follows a repetitive pattern with the soap both considered soft and fluffy subjects. These two shots clearly share similar focal points as the pair attempts to make the white, bright tones the main focal points of the images and the use of soft lighting to produce these outcomes.
Per contra, Alfred’s image has a wider variety of colours than Ernst’s as it is in colour as Ernst’s in in black and white. Nonetheless, Ernst Haas has created a photograph that looks more like a painting due to the slow shutter speed used and Alfred’s is in more detail and focus due to a faster shutter speed clearly being used which also creates a contrasting effect to Haas as it is more stroke and sharp. Evidently, they are both different images as one is of clouds and the other is of soapy water; Ernst’s contains harsher shadows and darker tones as compared to Alfred’s image that contains partially brighter tones, it also uses natural, dim lighting creating this “sign from above” feeling in comparison to Haas that most likely used artificial lighting to form this close-up – which is another difference because Alfred’s subjects are slightly further away from the “viewer” as compared to Haas who’s subjects are closer to the lens. Finally, the layout and size of them are different; Haas is a landscape rectangle whereas Alfred’s a portrait rectangle.
Paul Strand Vs Jaromir Funke
I chose to compare and and contrast these two artists against each other as they both use light and shadowing techniques in very provocative ways.
Paul strand creates black and white images with exaggerated deep contrast by shooting sharp leading lines possessed by certain architecture in harsh light which creates long eloping shadows to form giving his images this contrast and tonal range.
Jaromir Funke similarly experiments with this harsh light and shadow forming technique to form these abstract black and white pieces.
The main differences between their pieces is that Jaromir creates more abstract unconventional compositions solely sue to the fact he intentionally creates his sets of random interesting objects that will clash well with light and form shadows while Paul shoots typical, mundane architecture but in a creative fashion to form his contrasting images.
Pauls image on the left contains harsh natural light to create the intense shadows bordering each of the subjects. He used a narrow aperture to create a deep depth which is supported by the leading lines running parallel through the image. His image has been infused with sharp highlights and deep blacks to accentuate the shadows and the images tonal range. His image also includes repetition, this is seen through all the duplicating steps. This image also has a sinister essence with the baby’s face emerged in a shadow it almost juxtaposes that an innocent being could be portrayed as having an evil soul
Jaromir Funke’s image contains abstract light experimentation that plays tricks on the mind. He uses a harsh fluorescent looking light to draw out shadows and create the images contrasting tones. The image contains a lot of sharp geometrical features which frame certain streams of light and let through others. His image is l=slightly under exposed to add depth to the shadows. A high ISO has been used to add sensitivity to the film which has created a slight grain and given the image texture. The space in the image is quite populated with little negative space. He has also shot the shapes at an angle instead of straight on which gives a unique perspective to how the shadows elope and given the image more depth.
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 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.
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.
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, 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.
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.
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.
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.
I have chosen to compare a natural form image by Harry Callahan to an abstract image by Nick Albertson. Harry Callahan was an American photographer who was well-known for both his colour and black & white photographs. His work focuses on repetition, patterns and textures while also containing a high contrast between shadows and highlights. Nick Albertson is an American visual artist who uses mundane utilitarian objects to create abstract structural forms, photographing them using repetition, light and shadow.
There are many similarities between these two images, one being both photographers capture of vertical lines. Harry Callahan photographs the straight leading lines of pond reeds which reflect off the waters surface, creating a highly textured image with movement and rhythm. Additionally, Nick Albertson captures his vertical lines in the thick red tape, which stretch a uniform pattern from the top to the bottom of the image. These orderly lines create an abstract atmosphere in the image as the placing of the subjects are systematic and rigid, which contrasts with the obvious movement in Callahan’s work. There is also immense amounts of repetition in both images as the leading vertical lines echo throughout the photographs. Moreover, both images hold a sharp texture as they appear to have pointed edges and harsh lighting.
However, there are also many differences within these images. For example, Callahan’s photograph is of a natural form in its organic environment, whereas Albertson has captured a man-made form in an abstract ambiguous way. Furthermore, Callahan photographs his images in black & white whereas Albertson has bright saturation. The dominant colour red that Albertson captures creates a bold eye catching image and its vibrancy draws attention from the observer. Contrastingly, Callahan’s black and white image holds dark shadows which contrast greatly with the bright white highlights reflecting from the water. This creates a mysterious, enigmatic atmosphere within the photo as the shadowed reeds look silhouette-like against the water. In addition, these images are taken with very different lighting. Callahan uses natural light to capture his image as he is photographing the environment presently, without disturbing or changing it. However, Albertson uses harsh studio lighting in order to capture the everyday object in an abstract way. This artificial lighting choice adds to the unnaturalness and ambiguity of the image and shows how the composition of any mundane object, depending on perspective, can change how people identify it.
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.
Original Images
I took these images for the nature and patterns photo shoot.
Edited Images
I edited these in Adobe Photoshop 2018.
How i did it.
I like how i turned out because they look unique and it creates a cool pattern, which is why its resembling a Kaleidoscope.
It looks best why the subject is touching two sides of the original image. So when you flip it, it will all be connected.
In today’s lesson we experimented with Photoshop by creating a reflected image. First, I increased the canvas size of my image so I could copy and paste it next to the original photograph. Next, I used the ‘transform’ tool to flip the copied image horizontally so it gave the impression of the woman standing back to back with another. Additionally, I pasted the original image again to experiment with the opacity of the photograph and to create an echoed effect on the image. I copied this more opaque image and flipped it on the opposite side. Lastly, I flattened the image so all the layers became one. I really like how this abstract image came out as I believe it shows movement and rhythm, as if the woman is walking backwards into the other.