I imported an image I thought would look interesting in a reflected manner into photoshop. I chose an image of a church window with two rising parallel pillars either side of it.
I then used “ctrl + T” to enable free transform. I then rotated my image by 60 degrees by changing the angle in the top hotbar.
I then moved my image to the edge of the canvas to isolate an isosceles triangle. Once happy with the triangle I made it a seperate layer.
I then enlarged the canvas by 400%.
I then flipped the isosceles triangle on a vertical axis and lined it up with the original one to make an equilateral triangle.
I then flattened the layers and rotated the equilateral triangle around the same anchor point by 60 degrees. I then repeated this step to make a hexagon. I then filled in the rest of the image with the hexagons.
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.
I plan to take photos of the reflections on water at Bouley Bay and, in my sink the create bubbles in the water. There is also a small waterfall at Bouley Bay, so I plan to take photos of that using a long shutter speed to capture the motion in a blurred way, I might also do this to the waves and splashes on the rocks. I will need to make the shutter speed not to long, because it will be overexposed, as there is more light going into the camera, but it needs to be long enough to get the water as a smooth texture. I want to take the waterfall photo as it demonstrates my practical skills using a camera. I was inspired by Ernst Haas’ water and reflections photography.
Final Photos
This contact sheet shows my semi-good images. It helped me choose which images to choose as my final images. It is a method of sub selection.
The photo of the waterfall is my favourite, because it shows the silky smooth water, fall over the rock. It has a wispy texture as the shutter speed is longer, which allows motion to be blurred. I was difficult to take as I had to hold the camera still so I didn’t get any camera shake, as it would blur the image.
The photo of the rock with the water splash mid-air is also one of my favourites. The long shutter speed makes the water droplets have a trail whilst were falling. I had to time it so when a big wave crashed into the rocks; I had the camera pre-focused, then I would press the button to take the image as soon as the splash came above the rock. The sun created a lens flare, as I was shooting into the sun. It created definition to the water droplets as they became lit up which meant you could see each individual one clearly.
I decided in picking these two photographers to contrast and compare their work pieces as both photographers use textures, repetition and patterns in an enchanting way.
Alfred Stieglitz creates patterns and repetition when in the talking of his photos as the clouds create weird patterns and some of the patterns are repeated in the sky creating an abstract look to the clouds.
Whereas, Harry Callahan similarly experiments with these patterns and repetition in his pictures with the abstract pictures he takes of grass and repetition in the photos he has taking of trees being lined up next to each other.
Alfred’s picture on the left contains natural lighting which gives different shades into the patterns of the clouds in the sky making some of the clouds darker and lighter than other sin different regions. Visually, Alfred’s picture is appeared to seem very 2D (flat) as their isn’t much highlight’s of light in the clouds in order for them to appear to be 3D or even clouds moreover, their is a lot of patterns in this picture visually as you can see similar cloud shapes as it appears to be one big cloud with light trying to brake through different segments of the cloud. His purpose and meaning of taking these type of pictures of clouds was that it became an art form for him to take this pictures of the sky and photography quite quickly became an obsession for Alfred as he enjoyed his art form of taking pictures.
Harrys picture on the right was taken from the source of natural light with what appears to be a wide angle aperture being used in taking this picture, this enhances the shadowing and contrast in this image from light to dark tones demonstrating the differences from what appears to be wheat and grass in the picture. Visually the image is contrasted to be 3D as you due to the shadowing giving life to the surface in the picture also, their is repetition in this as you can see their is grass scattered about in the picture giving it a very earthly/ naturalistic appeal to the picture. The context of how Harry would go about in taking his pictures, was that he would just get out of bed and take numerous pictures of things that he thought interested him, this comes across in his picture in my opinion as the picture doesn’t seem to be panned but more of a ‘in the moment’ taken picture.
This is my favourite image because I like the fact that, under the harsh light, the folds of the paper become more prominent and edges become crisp because the black background contrasting it.
The paper aeroplane also looks like it begins to blend into the background as the flash only hits the back of the plane. The tip of the paper aeroplane is also barely noticeable because practically no light reached it.
selecting your most successful images (from the abstract unit)
finalising your most successful images (from the abstract unit)
displaying your most successful images (from the abstract unit)
So…you must create a set of blog posts that clearly shows your thought process, selection criteria, image enhancement and manipulation, and how you intend to display your final image / set of images.
Selection Criteria
Focus…is the image(s) in focus ?
Exposure….is the images(s) correctly exposed ?
Evidence of learning…does the image refer to at least one of the formal elements?
Connection to a chosen photographer…how close is the relationship ?
Unique / interesting…how sophisticated / complex is your image(s)
Examples
3 images that go together = a triptych
A grid / gallery of images can work really well…
Research and explore alternative approaches to presenting your final images. This should be an integral part of your concept…not a gimmick…ultimately, the quality of your photography will be the primary focus and your mark will reflect this…
Download a photo of an empty gallery…then insert your images and place them on the walls. Adjust the perspective, size and shape using CTRL T (free transform) You can also add things like a drop shadow to make the image look more realistic…
You can use this one…
…or this one
Always 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)
Luigi Ghirri was a Italian photagrapher born the 5 January 1943 at Scandiano in Italy . His work was most of the time made in Europe, and most of it focused on a small area of northern Italy . He prefersr to photograph this themes: maps, landscapes, windows, still lifes, interiors, fog, the seaside
Julian Schulze
Julian Schulze born 1986 in Hannover . He’s art is focused on geometric abstraction and minimalistic compositions. All of his images were taken in Berlin and Munich. He uses colours and the composition of geometric patterns .He also loves bold colours and colour combinations “I like the simple things in everyday life” He says .
Their Ideas but in my own Style
I chose to inspire me from the two artists . What like of the images of Julian Schulze is the colors he uses and his images look like they taken from a polaroid . I enjoy Luigi Ghirri because his pictures look like vacation photos they are calm and mysterious and I think it could be really fun to try to mixt them together in my own style .
What I did
I cut three colore paper and put it above the sand on the beach to make it look like in a vacation . I wanted squares because it remind me Julian Schulze’s pictures.
My pictures
My favourite picture
I really like the shadows on the paper it creates a nice contrast. And I really like the hole on my orange paper because it looks like in way freedom.
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.
