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 (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.
Abstract photography – Abstract photography is the method of depicting a visual image that does not have an immediate association with the object world and that has been created, it often takes a second glance to recognise the object being photographed.
Ralph Eugene Meatyard:
Part of “Zen” series – Ralph Eugene Meatyard (1960)
Born in Illinois, in 1925, Ralph Eugene Meatyard used a multitude of methods to achieve his experimental, expressionist photographs. These include multiple exposures, motion-blur, and other methods of photographic abstraction. Meatyard derived inspiration from poets he adored and his fellow members of the Lexington Camera Club, combined with his own creative flare and the influence of others Meatyard successfully formed his career in photography with his own form of expression. He took these unique photos where he lived in Lexington, Kentucky, before he later passed away in 1972.
Analysis of Ralph Eugene Meatyard’s work:
“Zen number 7” – Ralph Eugene Meatyard (1959)
Light- The natural lighting of this image softly illuminates the focal point of the image, that being the twig in the foreground of the image. There are no harsh shadows in this image as the lighting is soft.
Line- The thin, jagged lines of the branches lead your eyes towards the middle of the image, and then to the right-side edge.
Repetition- The repetition of line is present in this photo, as the pattern of irregular lines in the foreground direct your eyes along the screen, from left to right.
Shape- The organic shape of the branches are unorganised and random, therefore they have little relation to each other in terms of shape and regularity.
Space: There is a very narrow depth of field in this photograph. The branches in the foreground of the image are in focus, whereas the background is blurred out. I believe the photo was taken with an aperture of f4 or below.
Texture- The spiked branches in the image give the photograph a rough texture, as the lines in the image are ridged and sharp.
Value/Tone- There is a varied tone to the image, as the background to foreground fades from dark to light. The branches in focus are highlighted amongst the background, which makes them the focal point for the viewer. The branches are lightest part of the image and they are contrasted against the dull background.
Colour- The muted, monochromatic tone of the image accentuates the contrast between light and dark. There is a cold hue to the image, which highlights the juxtaposition of light and dark further.
Composition- The image has a very unorganised composition, the shapes are organic which makes it harder to understand the composition. There is also regularity to the image, which makes the composition more complicated and uneven.
My response to Ralph Eugene Meatyard’s work:
I believe the images highlighted in green are my most successful photographs for this shoot. I think this because they either relate to the artist’s theme of contrasting light and dark the best, or they use the artist’s method of blurring the image with change in shutter speed.
I think the images highlighted in red are my least successful images purely because they have the least relevance to the artist I have studied, or because the light in the photographs is too over-exposed.
To take the ‘Out of Focus’ images, I used an ISO of 400, and changed the shutter speed settings on my camera to achieve a ghost-like effect.
Photoshop Development:
Original PhotographAfter – Using cropping and black and white filter.Original PhotographAfter – Using black and white filter.Original PhotographAfter – Using cropping and black and white filter.
Overall, I think the biggest similarity between Ralph Eugene Meatyard’s and my own work is the use of juxtaposing black and white tones that create a contrast against each other. However, I think to improve my photos in the style of Ralph Eugene Meatyard, I need to change aperture settings, etc on my camera so that the lens focuses on the twigs and branches rather than the area around them.
Ann Hamilton
From “Face to Face” series – Ann Hamilton (2001)
Born in 1956, Ann Hamilton is an American artist best known for her large-scale multimedia instillations. Hamilton received a BFA in textile design from the University of Kansas in 1979, and then lived in many states in Canada, before deciding to achieve an MFA in sculpture at Yale in 1983. Ann Hamilton then produced several series of works between 1984-2018, but her work in the 1980’s is what brought the artist to light. While teaching at UC Santa Barbara, Hamilton began experimenting with photography, which she would often combine with other elements involving her current work with textiles. This began her work in photography and helped to evolve her successful career.
Analysis of Ann Hamilton’s work:
From “Face to Face” series – Ann Hamilton (2001)
Light: The soft, natural lighting gently illuminates the actual photograph, however harsh lighting could have been used around the image to create the
Line: The curved lines around the edges of the image act as a border to the photograph, these can be seen as leading lines that lead to the figure in the middle third of the photograph. The lines start of thicker at the corners of the image but begin to thin out as they reach the middle.
Repetition: There is little repetition in the photograph as the image focuses on the aspect of portrait rather than patterns and repetition. On the other hand, there is a slight echo with the use of shutter speed, which gives the figure a ghost-like affect.
Shape: The shapes in the image are organic and natural, because of this they have little relation to each other, the image is not artificially set up therefore it is hard to find comparable shapes.
Space: I believe there is a narrow depth of field in this image as the background is slightly more blurry than the foreground. However even the foreground is slightly blurry due to the use of slow shutter speed.
Texture: The image has a rough texture because of the jagged edges around the border and the wrinkly features of the face on the figure.
Value/Tone: There is a range of tones in the image, due to use of soft lighting which creates the contrasting shadows and highlights. The darkest part of the photograph is the shadows cast under the trees. The lightest part of the image are the illuminated features of the lady.
Colour: The photograph has a monochromatic filter to exaggerate the echo affect from the slow shutter speed.
Composition: The composition of the image is natural and not artificially set up, therefore it is difficult to superimpose geometrical shapes onto the image in order to understand the composition better.
Comparison of Ann Hamilton and Ralph Eugene Meatyard’s work:
Ann Hamilton and Ralph Eugene Meatyard both focus on the use of depth of field in different ways. Meatyard uses a narrow depth of field in order to draw the viewers eyes onto the focal point. Hamilton uses a slightly wider depth of field in order to keep more of the image in focus, but keeps the foreground as the main focal point. However Hamilton uses a slower shutter speed in order to achieve an echoed affect.
Both photographers use a monochromatic theme in these photos in order to accentuate the beauty of light and dark rather than colour. Hamilton and Meatyard use softer, natural lighting in these photos so the shadows and highlights are less harsh.
Although both Hamilton and Meatyard use the theme of focusing in their style of photography, they almost use them in an opposite way, which exemplifies the contrast in shutter speed photography.
Meatyard was born in 1925 in Illinois,USA. When he turned 18 he left to join the Navy as he was 18 during world war 2. Once he returned from fighting, he began to train to be an optician.
Meatyard purchased his first camera in 1950 to photograph his newborn first child. Once his children were older and he had a larger understanding of his camera, he began to take more images of his children and also took images so blurry many couldn’t figure out what it actually was.
Inspiration
SHOOT
For this shoot I wanted to try and figure out which parts of the image I wanted in/out of focus. I had only been taught how to manually use my camera, so I was pleased with how they turned out.
Successful outcomes (unedited)
Successful edits
Favourite image
This is my favourite image because I like the fact that you can still see the contrast in colours of the wheelchair; especially the metal because the sun had caused the top of the frame to be a silver colour and the bottom to be a slightly brass/copper colour. This allows the viewer to think about which colours are in the image and look outside what is in the centre of the image.
I made sure that the image was blurred to stick with the inspiration of Ralph Eugene Meatyard. I like the fact that you can still vaguely see the different textures of the wheelchair. The room I was in was very light and I thought that it worked with the dark colours of the central features like the chair, wheels and handles of the wheelchair.
Keld Helmer-Petersen was a Danish photographer who liked to experiment with the contrast of black and white expression influenced constructivist artists and their fascination with industry’s machines and architecture’s constructions. Keld’s approach to photography was by and large experimental and explorative. He worked on the boarders of what we consider to be photography. Throughout his career he worked with cameraless photography which was a technique in which objects are placed directly on light sensitive photographic paper. He used to walk down pavements with his head down making discoveries of damaged roads, houses or pavements which resulted in works such as the series Deformationer.
As you can see from Keld Helmer-Petersen’s work, all of his pictures where in black and white having that contrast between the black and white making the object in which he has taken the picture of, really stand out. Moreover, His pictures where flat being 2D and not 3D, meaning that in some of his pictures you don’t really know what the certain object was, having you use your imagination in what the picture could be or even taking a minute or two in realising what the image is for example, when you look at the image with the fire escapes, it could. Come across as just being thick black lines that where sketched onto a white piece of paper.
Original Photos
Edited Photos
The process I went through with making this was that I had all my photos on a separate file and edited them in order to make them have a bold contrast I achieved this by going onto image, clicking on adjustment then I went onto threshold which enabled me to adjust the threshold for my pictures, making the black and white have an intense contrast. After I done this, I opened a new file onto my photoshop and selected my images then copy and pasted them onto my new file, to have my edited pictures on the same file.
Evaluation
The evaluation that I made for my final images that I edited, was that I thought the images came out great involving the technique that Keld Helmer-Petersen uses for his photography. This is because in my images, they are flat and have bold contrasts of black and white on them having the object in any of the images stand out. Moreover, in the image of the Brewery in which I had edited, I thought this came out to be the best edit out of them all as the windows in which where bordered up and the outlines of the building highly stood out due to the building being white, the sky turning out white also made the image appealing as it seems like this could have been a sketch and not a picture.
A Danish photographer who was considered a pioneer in abstract photography in the 40s and 50s.
Keld experimented with the contrast in graphic black and white expression.
He was influenced greatly by constructivist artists and industrial machines/architecture.
Below we can see some of his compositions from his “Black Light” album where he experimented with extreme contrast to create abstract black on white compositions.
Process:
I chose 4 images that I thought would create a graphical black on white composition when edited. I opted for interesting industrial and man made elements with simplistic backgrounds.
I then added greater contrast to the image. Following this I used the threshold tool in photoshop to exaggerate the tonal range and create an abstract composition.
– Keld Helmer-Petersen was a Danish photographer who gained international recognition in the 1940’s and 1950’s for his abstract colour photographs. – His career lasted 70 years and he had strong interest in modern architecture, industrial areas and structures, which he would edit to be quite heavily contrasted, using strong black and white tones. – He was very prolific and continuously experimented with different angles and perspectives.
All Keld Helmer-Petersen’s photos.
– As you can see he takes harsh black and white tonal images and increase the contrast in Photoshop.
Process
– First i chose 4 images i liked and opened them in Photoshop. – Then, go to Image>Adjustments>Threshold. – Adjust the threshold level slider, to how you want it. – Crop the images to whatever size you want or 1000px x 1000px. And you can also rotate it in needed. – Then you save the finished image.
Original Photos – (Before)
Edited Photos – (After)
My edited photos.
Evaluation
– I like the outcome, as they look simplistic but include every detail needed. – The images are very geometric and include lots of parallel lines, which creates leading lines pointing to the sky. – The top 2 images have curves, where as the bottom 2 are heavily consistent of straight lines. – However, i don’t like how some of the black isn’t filled all the way, which creates a “patchy” look. As you can see in the bottom left photo, and the top right.
Original Photo
Evaluation
– I edited the image in Photoshop to create this effect. I like it as it makes you focus on the interesting parts, and subtracts the boring pieces. – First, I made a plain black layer. Then I created 6 circles, and 6 of the same images and made the image a mask for the circle, and I did that 6 times. then positioned the circles where I want to see the image through the black layer.
