Surface and Colour

Saul Leiter

Saul Leiter (1923-2013) was an American photographer who focussed on street photography and abstract expressionism. He started out as a painter so was heavily influenced by colour, shape and using his camera to create his abstract vision of reality. Leiter was well-known for his black and white work, however in around the 1990’s his personal colour photography was discovered, it still has an impact and inspires people today.

Leiter’s work holds lots of warm saturated colours which usually come from the artificial light of cars and shop windows. Additionally, he uses a range of focal lengths to show depth in his images. I really like his style of photography and the way he captures vibrant images in low light situations, it suggests he uses a high ISO so his lens is more sensitive to light. Furthermore, Leiter’s work differs in texture in each image, for example the image in the top right holds a sharp texture as the focal point is on the rain in the foreground. However, if we look at the bottom left image Leiter has created a softer texture by blurring the photograph, possibly using a shorter aperture.

Photo shoot Plan

Who – For one of my shoots I plan on capturing images of my mum with an umbrella, taken through the car window.

What – I have an idea to photograph vivid colours from street lights, shop windows, a red umbrella and neon signs. Also, I wish to capture raindrops as the fall down my car window.

Where – For the location of my photo shoot I plan on driving around St Helier to photograph the streets of town at night. This will hopefully reflect Leiter’s street photography with the vibrant colours reflecting from shop windows and signs.

When – I plan to do this photo shoot on Monday 5th October once the sun has set. It is due to rain that evening which will allow me to capture the raindrops on my car windows and on the street pavements.

Why – The reason for my shoot is to experiment with ISO and White Balance to see how it effects the colour of images. My photographs will be inspired by Saul Leiter’s work, capturing rain on windows and people with vibrant umbrellas.

My Response – Contact Sheets

Edited Images

I edited these images on Photoshop and focused on enhancing the bold colours and high contrast. I used the ‘Vibrance’ tool to heighten the saturation of my images in order to reflect the work of Saul Leiter. Additionally, I experimented with the ‘Brightness/Contrast’ tool so I could explore different ways of drawing the observer’s attention towards my chosen focal point, using bright highlights and very dark shadows to catch their eye.

Final Images

I have chosen these 5 final images as I believe their vivid colours complement each other well. Additionally, I really like the vibrant pink tones in the first image as I believe they provide a warm temperature to the image which reflects Leiter’s work. I enhanced this by increasing the saturation and contrast of the image to allow the bold fuchsia colours to stand out more against the black shadowed pavement. My first image also holds lots of artificial light from a neon shop sign. This bold lighting reflects off the puddles and creates an abstract composition with two beams of light forming leading lines down the image. Also, I like the way this image has an unbalanced rigid texture because of the irregular dips in the pavement. My second image reflects Leiter’s ‘Red Umbrella’ work. I really like the way the image has two obscure focal points, one being the clearly focused raindrops on the window, and the other being the bold red umbrella that is blurred in the centre. I used a shorter aperture to capture this image and have payed attention to the rule of thirds in my composition as the photo could be split into 3 separate sections.

In my third and fourth images I have been inspired by Leiter’s work where he captures rain on windows. I experimented with the white balance of these images when taking them because the abstract artificial lights behind the rain made it easier to explore the different settings. The first ‘rain on window’ image has a clear focal point just below centre, which is created by the strong leading lines of water flowing down the glass. Furthermore, the warm orange and pink tones blurred behind the rain create a shallow depth of field. In the second image, the blue hues that dominate the photo produce a cold icy temperature which contrasts to Leiter’s warm cosy work. I wanted to create this contrast to experiment with different colour temperatures to see how they added or took away from my images. I really like the repetition in this image with the four fluorescent circles of light as I believe they contrast with the dark blue shadows in the image. These two images also seem have a bumpy uneven texture as the raindrops create strange 3D-like effect. I have chosen the fifth photo as one of my final images because of its obscure out of focus nature and the warm colours which are reminiscent of Leiter’s work. I really like the soft texture this image holds because of its blurred effect, I created this by switching my camera to manual focus in order to capture an unfocused photograph. I also think the clear focal point of the red umbrella draws the observer’s attention to the centre of the image, allowing them to take in every warm colour surrounding the subject.

REPETITION, PATTERN, RHYTHM REFLECTION AND SYMMETRY

Alfred Stieglitz – patterns in the sky

Alfred Stieglitz | Songs of the Sky | The Met
The Alfred Stieglitz Collection | Equivalents
The Alfred Stieglitz Collection | Straight Photography

Alfred Stieglitz recognized his achievement in maintaining the realism of photography while addressing the goals of modernism, Duncan Phillips considered Stieglitz’s photographs of clouds important in joining photographic objectivity and personal emotion in his images. Stieglitz photographed clouds from 1922 into the thirties. A symbolic aesthetic underlies these images, which became increasingly abstract equivalents of his own experiences, thoughts, and emotions. 

contact sheets

my photos inspired by Stieglitz

I liked the outcome of this photo shoot. I edited the images, making them black and white, lowered the exposure and made the clouds look more defined by upping the contrast to match Alfred Stieglitz- Patterns in the Sky.

What I like most about these photos is the contrast between the highlights and shadows and the way they contrast against each other, these photographs were taken in natural day light. I like, in some images, you can see the sunlight bursting through the clouds, or in some way trapped behind it. I like how in each picture the clouds are never the same, making each image different to another, this relates to how he saw his photographs as abstract equivalents of his own experiences, thoughts, and emotions, and how everyone’s thoughts and feelings are different, just like each pattern in the sky.

Alfred Stieglitz is one of the most significant contributors to the history of photography. Stieglitz contributed not only scientific and artistic photographic studies, but also introduced modern art to America and furthered the theory of photography as art.

REPETITION, PATTERN, RHYTHM REFLECTION AND SYMMETRY – KALEIDOSCOPE

Process

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.

Surface and colour

Frank Hallam-Day

Image Analysis

In this image Day uses a lot of lines and shapes. His work is very flat due to the composition being straight and the lines being horizontal. The colours Day uses are very bright and vibrant, these are seen throughout the image because the colours reflect onto the sea. In his work no shadows or lighter areas can be seen meaning that the image has no depth and is one dimensional. There is contrast in the photo between the side of the ship and the ocean, the side of the ship has rough, jagged and straight lines whereas the water has more rounded flowing lines that aren’t as straight. The texture of the image is rough on top due to the rust and the peeling paint, however on the bottom it has a less rough texture on the bottom due to the water and the reflection in it. There is also a repetition of horizontal lines and colours throughout the photo because of the reflection in the water.

Response

Evaluation

In my work i tried to capture lines and proportions in the same way that Hallam-Day does. I took photos of a stripped wall that had a lot of marks and lines, I also chose these because they have a very flat look to them which Hallam-Days work has.

Final image

surface and colour

Eileen Quinlan

Quinlan  is a self-described still-life photographer who shoots with medium format and large format cameras. She is often regarded as one of many contemporary artists revisiting late Modernism, Quinlan uses medium and large format analog cameras to create abstract photographs, and then agitates the film via steel wool or long chemical processing. Some of her photographs include smoke, mirrors, mylar and coloured lights. The result is photographic images that are reminiscent of color field painting and op art, furthering the contemporary conversation between photography and painting.

Photo shoot

My photos inspired by Quinlan

I liked the outcome of these images, I adjusted the exposure, brightness, contrast and saturation to match Quinlan’s work. The images i took have a good amount of depth and definition. The lighting i used to take these photographs was artificial, i reflected colour onto the ice cubes and water droplets to make the images eye-catching and vibrant.

Frank Hallam-Day

Frank Hallam Day’s work explores the impact of humanity’s footprint on the natural world. Day, who was trained as a painter, says his photographs owe more to the history of painting than photography. Day prefers digital photography to film because it allows him to adjust the image, both on the spot and on the computer. His background in painting allows him to “see the photographic image as a process” that can be continually modified.

Ernst Haas

Haas was an early innovator in color photography, Austrian-American photojournalist and color photographer. Haas bridged the gap between photojournalism and the use of photography as a medium for expression and creativity.  The use of colour in his images added a sense of joy and vibrancy to familiar, seemingly mundane moments of everyday life. His interest was very much based on the wonder and beauty of natural things, but he had no inhibitions about using photographic techniques to manipulate the image. 

My photo shoot

My photos inspired by Hass

Haas worked with colour and reflection in his photography so i took inspiration, these images were taken in natural lighting, in some images i adjusted the saturation to match Hass’ work, he says “the use of colour in his images added a sense of joy and vibrancy”. In some of my last images i didn’t edit as Haas had no inhibitions about using photographic techniques to manipulate the image. 

formal elements – paper

Martin Creed

Creed’s work takes everyday objects, throwaway materials and playful subversion of familiar spaces and asks its viewers to divine meaning through the experience of their viewing. He uses familiar objects, materials, or actions in unusual ways, this includes arranging objects by size, height or volume to create sculptural installations.

His work contains a crumpled piece of paper, tightly packed into a ball. The piece evokes the possibility and anxiety of a blank page.

Martin Creed "What's the point of it?" at the Hayward Gallery - Southbank  Centre, London •Mousse Magazine
Work no. 88 : a sheet of A4 paper crumpled into a ball by Creed, Martin ;  Higgs, Matthew: Fine Unbound (1994) Numbered, Signed by Artist | Springhead  Books

contact sheets

final images

I experimented with paper, light and colour to capture these photographs. I folded, scrunched and tore paper in different ways and tested strong and weak lighting to create different shadows and I reflected colours onto the paper. I like how these images turned out as they have a variety of light and dark tones, colour and greyscale, I liked capturing the different shapes the paper created.

I particularly like this image due to the different tones of black and white and how they deeply contrast against each other. I used artificial lighting to achieve the shadows and highlights and positioned the lighting at different angles to create sharper or weaker shadows. There is repetition in this image in the folded parts of the paper between the lights and darks. The positioning of the paper combined with its folds could represent an architectural structure of a sky scraper, this relates to how Creed uses familiar, every day objects to create sculptural installations.

reflection

original image

First I opened the image and made it black and white, pressed select all and copied the image, then I adjusted the canvas size. I then pasted the image and flipped it horizontally, then I flattened the image, selected all and copied the image, adjusted the canvas size again and copied and flipped it vertically.

formal elements

For this I experimented with folding paper in different ways and tearing paper to create different shapes and patterns. I then experimented with different lighting by using the flashlight on my phone to create different shadows. The shadows add more depth to the photo , it also creates contrast with the tonal difference between the light and dark.
All the photos of the paper was taken up close to the paper so that u can see all the lines and shapes created from folding the paper in interesting ways. Taking the image up close also enhanced the shadows and depth in the paper. Also it created a sense of mystery as it was not so obvious that what I was photographing was paper as it looked more intriguing.

REPETITION, PATTERN, RHYTHM REFLECTION AND SYMMETRY

Alfred Stieglitz

Stieglitz was an American photographer in the early 20th century. modern art promoter who was instrumental over his fifty-year career in making photography an accepted art form. Stieglitz espoused his belief in the aesthetic potential of the medium and published work by photographers who shared his conviction.

Photo shoot plan

For my photo shoot, I will carry it over a few days, in small chunks during the day. this is so then vary my outcomes as the clouds would have moved and created new patterns to photograph. I will take these photos in different locations, again to help vary the patterns and shapes of the clouds. For this project, I can carry out my photo shoot independently as I will not be needing a model.

Final Edits

For these photos, i uploaded them into photo shop and experimented with the exposure levels, brightness levels and contrast, this was to enhance the ripples and the texture i saw in the clouds to bring them more to life.

Final Photo

When I first look at this photo, my eye is suddenly drawn to the 3 similarly shaped clouds following a diagonal line through the photo, this is due the composition of the photo. When taking the photo, I used a fast shutter speed in attempt to capture the texture and liveliness off the clouds, a fasted shutter speed meant that there was no time for movement from the clouds. However, a faster shutter speed also meant that there was less time for light to reach the lens, this made the unedited version darker. To change this, I uploaded the brightness and contrast to lighten up the photo. I also increased the exposure as the unedited photo was under exposed due the high shutter speed and low lighting.

I especially like the contrast between the orange clouds and the blue sky. In this photo, the two colours heavily compliment each other, making the photo more visually appealing.

Looking and seeing

Ralph Eugene Meatyard

Ralph Eugene Meatyard (1925–1972) lived in Lexington, Kentucky, where he made his living as an optician while creating a wide variety of photos. Meatyard’s creative circle included mystics and poets, such as Thomas Merton and Guy Davenport, as well as the photographers Cranston Ritchie and Van Deren Coke, who were mentors and fellow members of the Lexington Camera Club. 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.

Ralph Eugene Meatyard: A Master of Metaphor and Mystery - PHmuseum
Focus

Frederick Sommer

Frederick Sommer (September 7, 1905 – January 23, 1999), was an artist born in Angri (Italy) but raised in Brazil. He earned a Masters of Arts degree in Landscape Architecture (1927) from Cornell University where he met his future wife Frances Elizabeth Watson (September 20, 1904 – April 10, 1999). They got married in 1928 and they had no children. The Sommers moved to Tuscon Arizona in 1931 and then Prescott, Arizona in 1935. Sommer became a citizen of the United States on November 18, 1939. In the 1950’s, Sommer began to experiment with camera less negatives. He drew with soot, dirt and grease on pieces of glass. Below you can see two images of Sommer’s, one of a very deep and vast landscape of Arizona which includes rocks, hills, small and large shrubs and many cacti. The image is focuses close but gets less detail as it goes further back in the photo. The second image is that of his experiments in the early 1950’s with camera less negatives on a piece of glass. It includes a very random but human touch as the light comes through the drawing he made on the glass.

Frederick Sommer - Victoria and Albert Museum
Sommer, Cut Paper, 1980
Frederick Sommer | Untitled (Smoke on Glass) (1962) | Available for Sale |  Artsy

My Ideas

My Finalised Images

My Favorite

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I like this image the most because the vibrant colours of the paperclips go well with the plain wood background. I also like how the image turned out after editing it on photoshop. I edited the brightness down and the contrast up to bring out the colours. I also adjusted the levels, curves and exposure to give a glow and contrast with the neon paperclips. I finally edited the vibrance so that the background had a richer and warmer tone.