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.
For this project I will be exploring the different ways I can capture varying textures and colour schemes in an expressionistic consuetude. I will also be focusing on using ISO and white balance in an unconventional and creative manner.
Surface and Texture Mood Board
Luigi Ghirri
Luigi was an Italian photographer born 1943. He was a pioneer in his field and he focused on the contrast between fiction and reality.
He creates minimalist compositions which focus on a consistent colour temperature and texture. The unique attitude in his work consists of very interesting textures created by a flat contrast. He experiments with the light sensitivity of his film which creates a fine grain on his images which also adds to the unique unprecedented texture of his compositions. He shoots untarnished, condensed backgrounds to accentuate the surface texture of the image. The flat contrast adds a faded look to his images.
In the above image we can see Luigi also experiments with reflective surfaces to further the idea of the unprecedented surface texture present in his images. In the above image Luigi uses a specific white balance to create a cold colour temperature in the image. This temperature, combined with the puddle which is associated with rain, gives the image a bleak feeling. He also uses a flat contrast to add a faded look and texture to the image. He uses the puddle to create depth in his image and add a unique perspective to how we view the world and its textures. He also experiments with ISO to great a grain in the image to again boost the idea of unconventional surface textures. He uses natural lighting which is not too harsh to maintain the flat contrast in his works.
Aaron Siskind and the Boyle Family
Aaron Siskind was an American photographer born 1903. Looking at Aarons work in the context of Texture and colour, his pieces relate very well. He creates compositions that focus on the detail of things and he brings their texture into light. and creating
Aaron siskind – volcano
The Boyle family is a group of collaborative artists based in London who where popular in the 60s for their minimalistic macro photography. They created work with the focus point of flat surface texture based images.
Photo Shoot Plan
Shoot puddles, road imperfections/markings and minimal style objects around my countryside neighbourhood and in urban built-up areas. Use ISO in a creative way – use extremely high ISO to give my images grainy texture. Use white-balance creatively – give the images gloomy cold tonal temperature. Focus on surface texture.
Contact Sheets
My Compositions Focused on Surface Texture and Flat Tonal Range/Colour Schemes
Taking inspiration from Luigi, when shooting my images I focused on using ISO in an unconventional way to create a grainy surface texture. I also used white balance to create a flat colour contrast.
I also took inspiration from my second reference and created detailed compositions highlighting texture in our world and creating a sense that one could rub their hand over my images and feel the road imperfections.
Ernst Haas was an Austrian-American photographer, born in 1921, who is known for being a pioneer of colour photography opposing the better liked black and white style at the time. With these photos he was able to capture an aspect of movement in his images, by using a slow shutter speed which creates a blurred effect. Haas stated that he was ‘Bored with obvious reality’, and chose to use his photography as a way of transforming this into a subjective point of view.
Ernst Haas – New York
Image Analysis
Ernst Haas – New York – 1952
This colour photograph taken by Ernst Haas displays a busy street containing moving cars and busses in primary colours, in the background, which contrast with the crowd of people in dark monochrome clothes, in the foreground. The blurred streaks from the passing yellow cars create directional, horizontal lines, that lead your eye across the image, from the foreground to the red bus in the background. You can see that Haas has framed this image to leave very little empty space, resulting in a crowded photograph.
In additions, the lighting of this image appears to be natural as it was taken outside, allowing for a small amount of shadows, meaning it was most likely during the middle of the day. Here, Haas has used a slow shutter speed to create a blur affect, to add the aspect of motion to his images. Due to the fact that most of this image is in focus, I can say that Haas used a small aperture, allowing for a wide depth of field.
From this photo you can see that Haas has taken this photograph with the aim of capturing his subjective point of view, similar to his other photographs, as the motion created by the slow shutter speed allows you to feel that you are presently there experiencing that moment for yourself.
Ernst Haas Inspired Photoshoot
Plan
In order to take photos in the style of Ernst Haas, using the slow shutter speed skill, I will aim to take photographs of passing cars along the Five Mile Road in St. Ouen. I will focus on capturing images containing primary colours, similar to Haas, by taking photos of coloured cars. To achieve the blurred affect I will use the Shutter Priority setting on my camera, allowing me to adjust the shutter speed as I see fit.
Contact Sheets
For my first shoot I took slow shutter speed images of cars going past along the road, through the window of my car. This is as the raindrops on the window created a texture layered over the image.
For my second shoot, I also took slow shutter speed photos of cars going past, however this time outside instead of through the widow. This allowed for the blurring of the cars to create strong, directional, horizontal lines moving across the image, similar to Haas’ work.
Here in these contact sheets I have highlighted the images I will edit in Photoshop in green, and crossed out the images that were perhaps too blurry or over exposed in red.
Photoshop Development
In photoshop I took five images from each shoot and edited them in a manner so they would look similar to the works of Haas. In order to do this I had to increase the vibrance and saturation to replicate Haas’ use of vivid colours in his compositions. I also used the channel mixer and colour balance to make these images appear warmer and less over exposed, due to the rainy conditions they were taken in, whilst also increasing the contrast for a more dramatic piece.
Final Image
I think that this is my best image from this project as the stripes on the van allow for strong, directional leading lines across the photograph. Also, it replicates Haas’ use of primary colours slightly, with the incorporation of blue in the sky and on the van. In addition, I think that the raindrops add a nice aspect of texture, causing it to be a more interesting image.
Evaluation
In order to achieve better quality images for this style of photography, next time I could go into town to take these photos, as it creates more of a crowded scene, like Haas’ work, and includes more architecture. Also, I could use a tripod so that the only blur I capture in the images are from the motion around me and not the movement of my camera.
Ernst Haas (left) “Black Wave” – 1966 / Nick Albertson (Right) “Rubber Bands” – 2013
Haas takes more identifiable images, for example, a zoomed in shot of horizontal ripples on the surface of the water to create an abstract scene, where as Albertson only takes extremely close up images, to a point where you can identify what the subject is, which makes the image more fascinating as you question what the image is of.
Both images are visually appalling, as they both use circles, which is a clam looking shape as the are no pointy corners or sharp lines.
The lighting is more noticeable in Haas’s image, as there is a lot more definition due to a high contrast in the tones, because the water is at different levels, as it is 3D. On the other hand, Albertson’s image uses a black background so it is hard to tell where the light is coming from and if it is natural or artificial.
The lines on Haas’s image are horizontal and angled at a 45 degrees from the light, to create highlights and shadows in the corners of the images. The repetition adds more depth as you and see the ripples behind each other. Where as, Albertson’s photo was taken from a birds eye view directly above all the rubber bands to create a frantic and rushed mood as all the lines overlap each other.
Both images have little composition, they have a “less descriptive, more creative” approach. Which means that the image is mainly based off of it looks rather that it background and history.
The technology was different in the mid 20th century compared to the early 21st century, which is why Haas’s image has a lower quality as they only had 10mm-40mm lens which is why it is a little bit pixelated.
Haas’s image uses a fast shutter speed to capture the motion in a still frame. It also makes the image a bit under exposed as it isn’t letting in a lot light in as the hole which lets light enter the camera is small and closed up. The image has a cold tone as the colour blue is the most dominant.
Albertson’s image uses a high aperture to keep everything in focus, which makes it more chaotic as there is more to focus on in the image. Additionally, he uses a low ISO to reduce grain to create a cleaner image.
Minimalism as a combination of these two subjects, and is often used together in most photos.
The surface is important because, it is what creates the shadows and and highlights. It also makes it more unique as it can be dull or shiny, maybe even reflections.
The colour aspect is more about the tonal wheel, as the shadows make a light colour appear darker. This can be used to make a layered like image was depth of field is used effectively.
Julian Schulze
Julian Schulze was born in Hannover and is a Berlin based photographer. He is mainly focused on abstract and surreal genre of photography. He loves bold colours as well as colour combinations and compositions.
Julian Schulze is a master of minimalist photography, as he creates eye-catching and impressive minimalist compositions where each shot is composed using light, shadow, and colour to create a 2D or 3D scene.
Schulze describes himself as “focused on geometric abstraction and minimalistic work”
Kevin Saint Grey
Kevin Saint Grey’s techniques are normally symmetry and long-exposure, and he manages to get amazing, creative photographs, by using camera movements while exploring unique angles while shooting architecture.
Kevin Saint Grey is a primarily black and white LA based photographer with a minimalist approach to his subjects which creates a drastic contrast.
He shoots mostly landscape and architecture, and his work distinguishes itself for the serendipity of black and white, “humanness” and silent images.
My Colour Photos
I like how they are vibrant as they make the image pop. I have used lots of repetition in my images, as I took them at the market in town. The images have a good amount of depth and definition. The light is artificial and coming from above, which is why the apples have a shine on them, and also because they were polished. This makes the subject more appealing.
My Minimalistic Photos
The first two minimalist photos both use the rule of thirds. The image on the left is only focusing on one subject, which is the sign on the pole, the wall behind is very dull, which is why it is classed as minimalist. The photo on the right is of the pattern on the floor in a car park. It uses vibe rent colours the clash together making it more visually pleasing.
The rest of the photos are taken of objects, although not the full object is in the frame as it creates a minimalistic effect. I only focused in on the small simple details.
My Surface Photos
To capture the surface on these objects I used macro lens so I could zoom in closed to get very detail. All the images show repetition of patterns I found most of these patterns on natural objects like feathers and leaves, although I did take a photo of a matchbox to get the image with lots of dots. Then focused on a reflection strip in a cars headlights to get some crosshatched detail.
To complete your understanding of The Formal Elements we must look at some more creative possibilities before we move onto selecting final images for the Abstract Unit.
Classwork Blog Post 1
Choose 2 artists from the selection below
Compare and contrast their work by analysing 1 key image from each artist
Ensure you discuss aspects of Technical – Visual – Conceptual – Contextual
Classwork Blog Post 2
Construct a kaleidoscopic / reflected image in Adobe Photoshop from just one image as a starting point…
The task will encourage you to make use of a range of useful methods including layer copy, transform, cropping and other adjustments
Your blog post must show your process and final outcome(s)
Examples of kaleidoscopic / reflected images
Homework (due Thurs 15th October)
Design, plan and execute a photoshoot that responds to one or more of the artists below…remember to create a contact sheet and then select 5-10 of your best images and show clearly in a new blog post…
Paul Strand
Alvin Langdon Coburn
Laszlo Maholy Nagy
Jaromir Funke – the play of light
Funke’s images interest me because he seems very experimental in his approach. He is fascinated by the patterns of shadows caused by the play of light on a variety of objects. This results in abstract compositions where the shapes of the various objects overlap and intersect.
Harry Callahan – natural forms
I love the way Harry Callahan is able to see patterns, textures and repetition. His images have just enough information. He knows just where to place the edges, to leave out unnecessary details, so that we are able to focus on the main idea. He has a fantastic sense of design.
Ernst Haas – water and reflections
Haas pioneered colour photography and is also famous for his images of movement using long shutter speeds. He photographed water throughout his career, fascinated by its ability to reflect light and its dynamic movement. He crops the subject to increase the sense of abstraction.
Alfred Stieglitz – patterns in the sky
These pictures were an attempt to demonstrate how “to hold a moment, how to record something so completely, that all who see [the picture of it] will relive an equivalent of what has been expressed.” The ‘Equivalents’, as they are known, aim to create a sensation in the viewer similar to that experienced by the photographer. Is this possible, do you think?
These images explore the idea of repetition, rhythm, line, shape, texture and pattern. They are all created with everyday objects which are transformed through careful arrangement and photography. The edge to edge compositions help concentrate our eyes on the formal properties of the objects. Contrast is important.
Ray Metzker ‘Pictus Interruptus’
Metzker is known for his unconventional street photographs. More abstract than either Cartier-Bresson and Meyerowitz, Metzker exploits and exaggerates the properties of still photography – odd framing, multiple exposures, deep contrast, and, in this series, the interruption of various objects placed between the lens and the ‘subject’. Metzker seems to want to deliberately disorientate the viewer and question the indexical relationship between photography and the world.
It becomes clearer…that I am looking for the unknown which in fact disturbs, is foreign in subject but hauntingly right for the picture, the workings of which seem inexplicable, at the very least, a surprise. — Ray Metzker
Follow the 10 Step Process and create multiple blog posts for each unit to ensure you tackle all Assessment Objectives thoroughly :
Mood-board, definition and introduction (AO1)
Mind-map of ideas (AO1)
Artist References / Case Studies (must include image analysis) (AO1)
Photo-shoot Action Plan (AO3)
Multiple Photoshoots + contact sheets (AO3)
Image Selection, sub selection, review and refine ideas (AO2)
Albert Renger – Patzsch was a German photographer whose photography was cool, detached photos forming a photographic component of the New Objectivity.
In 1925 Albert starting his career in photography as a full-time photographer as a freelance documentary and press photographer. He rejected Pictorialism and experimentation photography who relied on startling technique. In his photographs, he recorded the exact detailed appearance of objects reflecting his early career in science. He felt that the underlying structure of his subjects did not require any enhancement by the photographer. In his book “The World Is Beautiful” he took pictures of architectural and nature to show his clear transparent style of photography.
Alberts photography is black and white which shows the era in which he was taking photos in. Even though the pictures are simplistic being black and white, it can still make an amazing photo as the shadows are enhanced in the pictures making them stand out from the objects moreover, it gives people a focus point on the pictures he has taken as there are no colours involved.
Looking at his pictures, it makes someone think that even the most unattended things in the world that people don’t really pay attention to, can be a mesmerizing photo if you take a focused picture on that object. This is shown in one of his published pieces called “The World Is Beautiful”.
Contact Sheet
Edited Work
Evaluation
I have succeeded in the craft of taking pictures like Albert Renger – Patzsch because, I have taken pictures in which I edited on making them black and white moreover, the scenery in which I choose where man made and they where repetitive for example, the picture I took with a big layout of bricks that are cemented together.
Looking over my pictures, I can see that their are patterns within my pictures and the arrangement of the certain objects in the Frame. Adding onto this, with the contrast of black and white both elements stand out from each other creating an appealing contrast visually.
Keld Peterson was a Danish Photographer who had an interest in abstract photography in the 1940’s – 1950’s. His photography involves strong contrast levels between white and black. His work manly evolves around building structures and defined shapes. He was greatly influenced by the industrial machines/architecture during his time.
A mood board of Keld Helmer Peterson’s work:
Keld Peterson
As you can see his work has great depth in his tonal range of light to dark. he almost captures just shapes that you can barely make out what they are. His work is almost the definition of abstract black on white composition images.
Here is my work before editing on photoshop. I chose to take images of sides of buildings and rails in town as for Keld’s work I thought it would link well with shape and abstract photography.
Adobe Photoshop / Best 4 Photos
Using the threshold icon (image – adjustments – threshold) in photoshop I can create an image inspired by Keld Peterson. This first image can be found in my next four images I took below;
