Hold The Line Siegfried Hansen

1. Research a photo-book and describe the story it is communicating  with reference to subject-matter, genre and approach to image-making.

Siegfried Hansen takes pictured intuitively, using this ability to anticipate unusual situations, transforming them into multi-facetted images.

Hansen traces visual compositions from graphics and colours creating his unique style of ‘street photography,’ without showing faces or bodies. Instead he focuses on graphical ways and formalism elements. It shows both aesthetics and his coincidence within public spaces, as you never know what to expect next.

When I open up the book I see vivid blocks of colour defined through a compositional structure of a street or wall, revealing this in-depth approach as intricate details, texture, and shadows or reflections are revealed. The sharp photos makes us see things differently, altering our perspective as we are presented things from abstract and unusual angles. Closely linking to ‘formalism’. I love the unique layout, as the theme of ‘formalism’ is further expressed throughout. The photographs aren’t always displayed on the pages, they are broken up by plain coloured pages linking into the the previous photograph. I want to further experiment with this concept. We are faced with various and different subjects in each photo, further making us see things differently.

The title ‘Hold the line,’ is further expressed throughout as he photo shows this unique formation of lines, curves, and shapes.

2. Who is the photographer? Why did he/she make it? (intentions/ reasons) Who is it for? (audience) How was it received? (any press, reviews, awards, legacy etc.)

Seigfried Hansen – Hold the Line, Kettle, 2015, Dortmand

About

Street photography

Hardcover, signed

Street photography exists as a genre in incredibly many facets (any aspect that makes up the subject) and manifestations (object or action that clearly shows something abstract or theoretical). It is always about the right time to release the shutter, at the moment of capturing and how accurately to react to the subject. For Siegfried Hansen, street photography is not so much in the nature of reportage and documentation. What he is interested in is graphic elements, shapes, interwoven lines and structures that, when harmoniously related to one another, present an abstract image. Whereas in the photographs of key role model: Henri Cartier-Bresson and André Kertész, people play a major role. No more is shown than is needed to create an interesting and balanced combination of people and objects.“

3. Deconstruct the narrative, concept and design of the book and apply theory above when considering:

• Book in hand: how does it feel? Smell, sniff the paper.
• Paper and ink: use of different paper/ textures/ colour or B&W or both.
• Format, size and orientation: portraiture/ landscape/ square/ A5, A4, A3 / number of pages

Pages: 56
Place: Dortmund
Year: 2015
Publisher: Kettler
Size: 20 x 27 cm (approx.)

https://josefchladek.com/book/siegfried_hansen_-_hold_the_line

There is a mix between layouts, portraiture and landscape

• Binding, soft/hard cover. image wrap/dust jacket. saddle stitch/swiss binding/ Japanese stab-binding/ leperello
• Cover: linen/ card. graphic/ printed image. embossed/ debossed. letterpress/ silkscreen/hot-stamping.

Exposed board cover, solid colour pages, thick matte paper, full bleed images, and a mix of portrait (one page for image, followed by a colour) and landscape pages (a double page spread) complement the graphic content.

There is no text throughout as noexplanation is needed, making it a very visual and open for interpretation book.

“this is not about a particular city, but the graphic presence of the city. Through his attentive eye and smart design, Hansen has created a mini city symphony of line, shape and color.” Colin Pental

https://blog.photoeye.com/2016/01/book-review-hold-line.html

• Title: literal or poetic / relevant or intriguing.

‘Hold the line,’ straight away draws us in as we

We are first presented with a landscape photo for both front and blurb. From the abstract angle and geometric print of clearly defined lines and formations of colour, straight away creates these intense leading lines. Followed by someone’s legs in the top-right-hand corner, who we may guess could be the subject/ focus. I like the fact they’re unrevealed. This simple yet effective front page makes us question the narrative and concept behind the book as we yet to figure this out, as no title is presented.

As you turn the page, we are presented with the metaphor (title) ‘Hold the line.’ We straight away question what is meant by this. This perhaps changes our perspective of a ‘line’ as we question what is truly meant by this. The title sticks with us throughout the book as we notice this more and more, experimenting with how the lines can be further expressed. Features that relate to this complement one another, colour, shadow, space and shape.

• Narrative: what is the story/ subject-matter. How is it told?

Hold The Line, doesn’t present an obvious narrative. However the subject of geometric, abstract and unusual compositions of street photography never fails to engage/ immerse you into the book, as you never know what to expect next. I feel Hansen’s unique approach/ style opens us up to a different style of street photography, one that we don’t typically see. Therefore this creates a different narrative, one that is open for the viewer to interpret. For me i like this different approach, seeing how colours are presented and complemented through shapes, shadows, and interesting compositions. This presentes this story of

• Structure and architecture: how design/ repeating motifs/ or specific features develops a concept or construct a narrative.

Matt paper, hard back, full bleed,

When you flick through you see the unique structure that is expressed throughout, closely linking to the theme ‘formalism.’ Some double pages are broken up by full colour pages that complement the photo next to it, this is done through different ways. We can see the connection, as for some photos he is revealing a detail/ structural element through his choice in colour revealing this interesting and connecting concept. I feel to have a full colour page to break up certain images, with it having a close connection to the photograph expresses this uniqueness and difference as it reveals

https://www.lensculture.com/siegfried-hansen?modal_type=project&modal_project_id=132705&modal=project-132705

Fine Art Photography

• Design and layout: image size on pages/ single page, double-spread/ images/ grid, fold- outs/ inserts.

Their is a unique layout displayed, with a mix between double pages spreads and singles pages. In a way the single pages are actually double pages, as full coloured complementary page colours that break this up up by full colour pages which complement the photo next to it. I find this effect interesting as we can see the connection, as for some photos he is revealing an intricate detail, ( strip of colour) or structural element through this effect, others it’s just a complementary colour.

We can see the connection, as for some photos he is revealing a detail/ structural element through his choice in colour creating this interesting concept.

• Editing and sequencing: selection of images/ juxtaposition of photographs/ editing process.
• Images and text: are they linked? Introduction/ essay/ statement by artists or others.  Use of captions (if any.)

MATT PAPER

UNDERSTANDING PHOTOBOOKS:
NARRATIVE, EDITING, SEQUENCING, DESIGN, FORM, FUNCTION 

Earlier in the academic year we looked at narrative in photography. Let’s refresh our memory and revisit some of the theories around visual storytelling.

Literary sources: Go to this blog post here: Theory: Literary Sources and copy relevant key texts relating to the subject of your essay and list in alphabetical order in your bibliography. In addition, find your own key texts in relation to artists selected for in-depth analysis in your essay and list these too. These texts could be interviews with the artist, or reviews/ critique’s written by others. See useful online sites/ sources here .

• Research and identify 3-5 literary sources from a variety of media such as books, journal/magazines, internet, Youtube/video that relates to your personal study and artists references .
• Begin to read essay, texts and interviews with your chosen artists as well as commentary from critics, historians and others.
• It’s important that you show evidence of reading and draw upon different pints of view – not only your own.
• Take notes when you’re reading…key words, concepts, passages, page number to be used for in-text referencing etc.

Essay Question

• Think of a hypothesis and list possible essay questions
• Below is a list of possible essay questions that may help you to formulate your own.

possible-essay-questions-to-investigate

Some examples of Personal Study essays from previous students:

How can elements of Surrealism be used to express and visualise the personal……?

new topographics and traditional street photography

In what way can abstraction make visible what is invisible in the natural and urban landscape?

What is abstraction exactly?

……..William Klein’s confrontational approach to street photography?

Essay Plan
Make a plan that lists what you are going to write about in each paragraph – essay structure

• Essay question:
• Opening quote

‘To photograph is to appropriate the thing photographed.

It means putting oneself into a certain relation to the world that feel like knowledge– and therefore, like power.’ (Sontag 1977:4)

‘To collect photographs is to collect the world.’ (Sontag 1977)

• Introduction (250-500 words): What is your area study? Which artists will you be analysing and why? How will you be responding to their work and essay question?

“I happen to believe in the beauty of simple things. I believe that the most uninteresting thing can be very interesting.” Saul Leiter suggest that what goes unnoticed is in fact the most exciting. The fact that we are almost unaware our surroundings of unique shapes and formations, with the only way that we truly see it is through abstract approaches. Throughout my personal study I aim to investigate street photography and how it can be portrayed through various ways. I believe there is more to street photography and that it’s not just a standard photo of a building, it’s in fact different elements such as vibrant colours, unusual shadows, textures, and patterns, to diverse formations and compositions that all intertwine, overall creating these contrasting effects. Otherwise know as formalism, compared to what we see on the streets it shows a very similar effect. The way colours are ditinguished between more colours, sepatated by distinct lines is further represented within the streets whether we notice it or not. My aim is to bring this to life, presenting this through very abstract and diverse approaches, and makes you question the photo as it is so unreconisable. Sigfreid Henson perfectly describes formalism. His similar approach overall achieve abstract, unregonisable images, that are so bold and full of colour and life it changes our perspective of our surroundings – viewing things for their details and unique features that define them. Saul Leiter expresses this more excitingly, expressing very hectic and busy images, however are clearly defined through formations, colours, and shadows. I am going to investigate through various elements such as colour, formations and shadows and how they present their own narrative as we engage in different way. Producing my own reponse in a formalist way, will create depth and meaning behind what I capture. More meaning will be revealed as I capture things in an abstract approach for example the colours chosen and formation expressing how uninteresting photos can be made interesting.

• Pg 1 (500 words): Historical/ theoretical context within art, photography and visual culture relevant to your area of study. Make links to art movements/ isms and some of the methods employed by critics and historian. 

Formalism is the most important aspect of art, presented through visual aspects rather than narrative content-connecting closely to the outside world. Within this we see a dynamic relationship of colour, brushstroke, line and composition. Isaac Newton developed the colour wheel based off of his findings. Proving that white light was not a single entity, instead it was composed of a spectrum of colour combining to make white, otherwise meaning white is a source of all colour. Newton’s experiment consisted with passing a thin beam of sunlight through a prism which produced a spectrum of colours – red, orange, yellow, green, blue, indigo and violet. Then by placing an inverted prism in the path of the coloured light beams, combined the colours producing white once more.

Formalism is a study of art, where compositional elements are presented to us through elements of colour, line, shape, and texture. Rather than focusing on a specific meaning, reason of creation, historical background or context within the photo, (that goes unnoticed), we therefore consider the medium used or visual elements that is presented to us through such expressive and dynamic formations. The colour wheel greatly impacts ‘formalism,’ as the small selection of colour complements one another therefore creating a very appealing/ engaging feature.

https://en.wikipedia.org/wiki/Formalism_(art)#:~:text=In%20art%20history%2C%20formalism%20is,purely%20visual%20or%20material%20aspects.

Piet Mondrian (dutch painter took) inspiration in impressionist techniques

https://www.piet-mondrian.org

• Pg 2 (500 words): Analyse first artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
• Pg 3 (500 words): Analyse second artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
• Conclusion (250-500 words): Draw parallels, explore differences/ similarities between artists/photographers and that of your own work that you have produced
• Bibliography: List all relevant sources used#

Sontag, S. (1977) ‘In Plato’s cave’ in On Photography. London: Penguin Books.

The Colorful Compositions of Saul Leiter

https://www.historyofinformation.com/detail.php?id=3666

https://www.clerkmaxwellfoundation.org/html/first_colour_photographic_image.html

Essay writing: Here is a link to another blog post which will provide you with guideline about how to structure each paragraph in your essay.

I decided to experiment with cropping and how interesting an engaging images can be captured from this. Inspired by Siegfried Hansen, his style of capturing images that are unrecognisable, but still show a unique and gripping narrative and character, as the areas he’s zoomed in on highlight unique features which I feel show give an interesting perspective. I liked this idea of making the photograph unrecognisable but instead show this in-depth abstract commotions of colour, that is clearly defined by structured elements, of lines, patterns, shapes and shadows.

Experimenting with cropping:

• How successful was your photoshoot and experimentation?

This photoshoot I focused on colour, and unique compositions that are revealed when captured from an abstract angle/approach. I achieved this by capturing photographs from particular view points – close-up shot, to more far away views. For each photo I had in mind the compositions and how I could achieve a unique, unusual angles from this. I further experimented with cropping the photos, to further make the photo unrecognisable through this very abstract angle. I wanted to achieve this effect, where only colour was visible, further defined by the lines, patterns, silhouettes and structured of outlines and shadows. To achieve this effect I chose certain areas from the original, which I though could be interesting and could achieve different focal points. This means that different details and features of the photo could be visible further creating interesting/ in-depth character.

• What references did you make to artists references? – comment on technical, visual, contextual, conceptual?

• How are you going to develop your project from here? – comment on research, planning, recording, experimenting.

To develop this further, I am going to focus more on the angles I use when I capture the photo, paying close attention to the the formations/ shapes and patterns, then capturing from angles in a similar way. I feel this will enhance the details further creating very gripping and engaging images, as I following the same effects.

• What are you going to do next? – what, why, how, when, where?

I am going to capture more interesting angles found from unique compositions I find

Experiemnting with cropping

explaining what you focused on in each shoot and how you intend to develop your next photoshoot.

• How successful was your photoshoot and experimentation?

During this photo-shoot I visited various street around St Helier which I felt displayed the perfect relation between colour, pattern, shapes and how a unique composition was created by this. I decided to use someone I know, as I could further stage and direct how I wanted them to pose in front of the compositional background. I found this an interesting concept to experiment with, as features such as lines, shapes, and outlines of colour or an object could be further enhanced against the main ‘silhouette’ of the subject.

• What references did you make to artists references? –
• comment on technical, visual, contextual, conceptual?

Looking closely a the work of Saul Leiter, his use of visual elements such as colour, pattern, composition, shape, and outlines, all work together to create contrasting, hectic features. Through his use of people as subjects that complement the background, creates this intriguing relationship as

Overall he achieves this unique concept about how he captures these specific moments to the final image. This is what makes his work so unique, never failing to attract the viewer. I love Leiter’s thought processes which lead him to creating such exciting and engaging images; ‘decisive moment,’ ‘the beauty of simple things’ and ‘the most uninteresting things can be very interesting.’ In response I took a close approach focusing on simple features that were in fact the most interesting, as I found what made the images was how it all fitted together through the contrasting colours, with lines/ patterns of random marks/ signs/ letters, defining this. I picked a locations with bold colours and features that made it unique. Leiter’s use of abstract approaches of forms and innovative compositions creates this painterly abstract look, further expressed through visual elements

• How are you going to develop your project from here? – comment on research, planning, recording, experimenting.
• What are you going to do next? – what, why, how, when, where?

intense colour

For this photoshoot I am going to focus on colour, looking at how colour can create interesting contrast between two different subjects. Unique forms and compositions will be created from this highlighting bold shapes and patterns overall producing very visual and attracting images. Inspired by Saul Leiter I want to explore this concept of colour, perfect compositional elements like lines, peoples silhouettes, to shadows, which all come together to produce this very visual and attractive image. I want to create interesting and unusual contrasting elements between the subject and background with that being railings, coloured wall, shop windows (reflections and shadows), signs and posters to wording. Through this I will capture unique formations of patterns and lines that will be emphasised against the subject. I want to create a narrative between this having the subject relate to these features displayed in the background. I feel this will create depth and meaning, as the viewer will question why the subject is positioned the way they are in front of this, what they are thinking, is it revealing something about the subject. Capturing the subject in front of signage to prints and letters, I want the subject to pose in such ways that communicate a response of this that clearly shows a relation.

I want to stage aspects of this photoshoot, like posing the subject: leaning against the wall, in front of windows – so the reflection is visible, wearing contrasting outfits between the subject and background. I am going to make this photoshoot about my sister, in a way that still follows the genre of street photography and capturing unstaged moments. However I feel like having control over aspects of this, shown through the clothes worn, expressions, and poses, will create a visually appealing series of images, which all link together to create this interesting narrative and meaning which will draw the viewer in. I am going to photograph her in a series of locations throughout the streets of st helier, during late afternoon to evening. At this time very strong compositions will be visible, with interesting shadows and tones coming out through this. I feel at this time of day and it being winter will create an interesting atmosphere as it already creates a dimmed and sharp tone. So by having the subject dressed in bold colours and styles of clothes, photographed against a contrasting background, will emphasise this concept. Then using adobe lightroom to further develop this, to bring out these tonal colours and shadows inspired by Saul Leiter.

Capturing different features I find along the streets and come across including signs, bold prints, arches, contrasting background (walls, doors, windows, railings) will come together creating these contrasting features, mixing with the diverse colours and shapes which never fails to attract the viewer.

What I am going to look for:

Mirrors, window reflections, puddles (where reflections are shown), contrasting features (architecture, trees, people, bold colours, lines, shapes, colours and patterns.)

Saul Leiter Inspiration:

Lee Friedlander inspiration:

Developing photoshoot:

Using lightroom, I am going to make adjustments where colours, texture, lines, contrasting tones and brought out through interesting architectural buildings (as background) and silhouettes. I like how leiter uses things like windows, doors, sides of walls as a frame, creating this focus around the subject itself. I love this effect as this interesting form leads you into the silhouette of a person that blurred.

Context and concept

Saul Leiter is an American artist and photographer, during his late teens his interest grew for painting shortly moving to New York in 1946 to pursue this. After, He came in contact with an Abstract Expressionist painter Richard Pousette-Dart who was experimenting with photography at the time, to later meeting Eugene Smith, and exhibitions of Henri Cartier Bresson at the museum of modern art in 1947, was what inspired him. His abstract approaches of forms and innovative compositions have a painterly quality that stands out among New York, suggesting this through colour and reflections. Creating this effect of a painted look. Looking at his work I can see his inspirations from these photographers, for example Henri Cartier Bresson, the way the the people are captured in the ‘decisive moment’ so they are unaware they’re being captured.

“I happen to believe in the beauty of simple things. I believe that the most uninteresting thing can be very interesting.”

“I LIKE IT WHEN ONE IS NOT CERTAIN WHAT ONE SEES.” – SAUL LEITER 

https://www.1854.photography/2016/01/ordinary-beauty-saul-leiter/#:~:text=While%20Leiter’s%20early%20black%2Dand,British%20Vogue%2C%20Esquire%20and%20more.

This quote perfectly describes his style of street photography, through the way he captures photos in the decisive moment, meaning that there isn’t much of a subject or meaning behind the photograph, in a way it’s up to you how you perceive the photo. Considering the people are a central focus of the photo, it creates an interesting narrative, as its portraits of them in day to day so so its clear where they are, through expressions and poses but ‘unclear of what one sees.’ His style is seen as a poetic and painterly quality, with a keen eye for colour and composition, leading to an emotional and in-depth response from the viewer. Through each of these contrasting effects created by visual elements, work together giving this warm feeling. Featuring reflections, shadows, blurred objects create this unknown, imaginary look. I want to develop this conecpt further a it creates this surreal characteristic of the photo. It highlights this concept of ‘in the moment’ as your prensted with something unclear leading to your unclear judgement.

Leiter began to explore colour by 1948, with his main subjects being street scenes and his close circle of friends. Looking at streets around New York City 1950, he created a project in which he explored the very busy and hectic hustle and bustle of the streets, showing this through abstract forms and original compositions to street photography. This creates a unique concept behind his approach as he looks

What inspired me of his work is this busy and hectic feel that’s created, through visually seeing his bold compositions displayed through colour, lines, reflections, subjects. This reminds me of magazine covers as images are brought together in ways which portray some kind of story,

I love the abstract look about his photographs, with really bold uses of block colours that outline the structure, shown through shapes and lines. I feel this really creates an interesting and unique photo as we are displayed something different each time because the moment when its captures will never be seen like this again. The unique angles being captured through reflections in windows, to the weather conditions, how people are dressed and presented

Colour Collection

I love the abstract look about his photographs, with really bold uses of block colours that outline the structure, shown through shapes and lines. I feel this really creates an interesting and unique photo as we are displayed something different each time because the moment when its captures will never be seen like this again. The unique angles being captured through reflections in windows, to the weather conditions, how people are dressed and presented, through a whole , creates this intersting conecpt as its a diffeemt unusaul view.

Created collection/ categroires in which he fit his photoshoto into. visual elements – further develope this in my own style

https://www.saulleiterfoundation.org/color

These photos specifically showed contrast that the colours and compositions create

https://www.saulleiterfoundation.org/biography

This photo appeals to me a we are given a montage of people, through reflections.

This photo is part of Leiter’s fashion photography displayed in Harper’s Bazaar, but also a part of ‘Colour’ (one of Saul Leiter’s collection.) I love this photo, and its expressive interesting forms. The way the subjects creates these unique focal points all throughout are shown with three different peoples perspectives. One in the background, second in the mid ground and third in the foreground. This creates an interesting concept. As the main focal point the women in the blue jacket drawns us in straight away to creating interesting silhouette figures, filled with colour.

We straight away see an old yellow car with a woman standing in front looking very fashionable. The natural lighting is used with the rain and wet weather elevating the colours creating unique contrast between the focal points – the yellow car and women in blue coat. I really perfectly describes a unique composition as they create unique shadows, texture, forms emphasising the outlines and silhouettes of people and cars. Alongside this, we are presented with an interesting depth of field that’s not noticeable straight away because your drawn to the contrasting central focus (the car and person in blue dress). But when looking closer at the photo, two more people are actually shown, but only their outline creating this interesting silhouette in the background. With this interesting depth of field, they are still part of the background so not the main focus. They instead create interesting shapes and structure as they’re out of focus. These visual elements overall make a really interesting photo, emphasising even more contrast in colour, showing this structural and defined look. The visual elements of tone, colour, pattern, line, shape, work together to create this interesting compositional photo.

This photo is captured without being staged, showing you the real reality of behind the scenes in a way which you

Saul Leiter creates this interesting perception through visual elements such as colour, tone shape, pattern and composition. This photo displays old cars, people within the streets all that are all different. showing this documentary

In response to Saul leither i am ispired by his compositions and formations show through lines, shapes, structure, shadows, and reflections. I am goijng to incorpoate these elements in my work through looking at

https://www.saulleiterfoundation.org/color

https://independent-photo.com/news/the-unseen-saul-leiter

Lee Friedlander experimented with the American social landscape in 1948, the point of his work was to display a vast amount of visual information in dynamic compositions. In result created humorous and poignant images within chaos of city life or natural dense landscapes. During the early stages of his photography, his career focused on the streets which displayed evidence of the complexity of the American social landscapes producing candid photos in sly compositions of people, buildings, advertisements and reflections. Between the years 1950s and 1970s, continuing working on the streets Friedlander presented jazz, country, and blues performers which later appeared on album covers. Within this time period he produced a series of portraits in 1960s, called the little screens showing television screen in motel room an other spaces pairing others disquieting landscapes of tv images within their mid-century surrounds.

fraenkelgallery.com

https://www.artnet.com/artists/lee-friedlander

Friedlander capture’s store front reflections, structures framed by fences, posters and street signs. With help from the natural environment and architecture to frame the subject. He experiments with unusual camera angles, and inventive lighting which bring life to the photographs challenging the viewers perspective. This involves looking at reflections, shadows, textural elements often displayed through people in everyday life.  “His images encapsulate the common, yet overlooked, moments of life, highlighting their innate beauty and significance.”

Personal Street Photography

Streets:

‘Flattening a dynamic space into a photographic image,’

Lee Friedlander

looking at people who are reflected in windows and mirrors who are framed by lamp posts and doors, which creates these interesting narratives and new relationships. I love this element of the photos, as new formations appear everywhere, making it very interesting and engaging drawing you in. This hectic and busy layout gives you lots to see and look for, creating this gripping dynamic of the relationship between the people and buildings. I think including people you know within this would create an interesting narrative to experiment with, as perhaps to them they could have relationship with this. I also love the more simple approaches like in the bottom right of the four above, as this shows a simple but effective composition. I love this candid look as I feel this alone draws your attention in, to the very few subjects and asymmetrical compositional. I love how this is further expressed through different tones, and high contrasted effects. I want to experiment with this feature during my photoshoots, being assertive and aware of my surroundings that show clear understanding of contrast, that I can further emphasise and develop in lightroom.

I am particularly interested in the photos Friedlander captures of people in reflections where you can see clear shadows and shapes expressed through this. I love how you notice the main photo straight away, noticing the clearly visible subjects, then, another ‘layer’ is revealed, for example reflections in windows, where you can see another scene of silhouettes of people or buildings. Like shown in this photo:

I love how this effect merges two photos together, creating unique compositions. Through these effects new shapes are revealed along with tones and shadow, which complement one another creating unique patterns and lines revealing this gradient of colour that’s produced.

Signs:

Early 1960s, Lee Friedlander focused on signs that describe the American landscape, hand lettered fonts to shop windows and signs. This describes Friedlander’s approach to America, through a poetic and desirable way, shown through what he captures. I found this an interesting concept, as the signs are communicating this message, whilst having this engaging relation with the subjects for example the people. The compositional and textured elements shown in this, overall creates these interesting forms and shapes. I love this connection between these two ‘subjects’ as they connect in ways through what they wear to the backgrounds they’re presented in.

Signs

Lee Friedlander

Baltimore, Maryland displays the high contrast of highlights, tones, structure, and pattern creating this interesting feature. The way the subject of the person is perfectly outlined by the door, looks as if its been staged creating this interesting effect as actually been captured in the moment. Throughout this photo you can see his style coming through of reflections, shadows and textural elements, overall being emphasised by the contrasting tones. Through this, new shapes and patterns are brought out in which you wouldn’t notice before, I feel this really creates this interesting and dramatic effect. Whilst also creating this interesting feature as your eye is naturally drawn to the centre, where lighter tones are shown emphasising the formation of lines and patterns displayed on the buildings, which are again highlighted sublty by darker tones of shapes. The lighting displayed helps to create this contrasting feature within the photo adding to the dramatic effect, leading to a high contrast in tones bringing out unique shapes and patterns that haven’t been seen before. The white balance in the photo is evident, shown to us through he warmer and cooler tones displayed to us in the high contrast. Different highlights are brought out to you through this, specifically in the lighter areas giving it this warm tone. Unique formations are formed, the layering effect that’s created displays interesting contrast between what seems to be two landscapes merged together. I am inspired by this effect, where the darker shadows are displayed, a new landscape or perspective is revealed, through the reflection. The atmosphere created is engaging as all around the photographer is captured, perfectly signifying ‘moments of life, highlighting their innate beauty.’ In relation to the quote, the real beauty is revealed capturing moments, that are revealed through reflections. This could also have something to do with the women we are presented with through the window, which could be describing her world all around her. I find the depth created, explains a deeper meaning as one photo/layer leads perfectly onto the next so you eyes are constantly revealing new landscapes, of interesting formations which are shown through sharp, and bold architectural forms, to graphical signs and lettering.

https://www.moma.org/collection/works/52295?__cf_chl_tk=GC3V75zTU2bYu_63IyVim7dcpyb4b2QYSrWpp81mdE4-1733477164-1.0.1.1-lMZLYS5DUxqxcgOdmnG0_Xpc1RISl_rzMfcbkaLQw1A

• What you want to explore?

Throughout this project I am going to explore the theme ‘Street photography.’ I feel there is much more to explore within street photography, as what usually goes unnoticed is actually the most interesting thing to capture. Through my interest in art and painting, it had inspired me to look differently at what makes up the streets, for example colour to features of buildings, road signs, lights, signage, posters, and letters. I feel like this alone makes the street a much more vibrant and lively place when you look closely into it, revealing alsorts of hidden features. From this I am going further experiment looking closely into visual elements such as colour, shape, texture, composition, pattern, line, and space. Looking at the graphical and structural elements that contrasts each other is what I am interested in exploring. Further developing my photos in lightroom to intensify the original colour, and formations.

o explore this concept of ‘capturing unnoticed,’ as this will not only engage the viewer but reveal something. Exploring this I

• Why it matters to you?

Through knowing different styles of art, I look at the streets in more artistic was paying closer attention to minor details, colours or formations which all work together to create very visually appealing streets. I like admiring colours expressed through graphical signs/ prints and on architectural buildings, to further looking closer at relfections and shadows or people and other interesting objects that make up the street. Fomalism is abstract art. The particular way colours are distinguished between more colours, separated by distinct lines is further represented within the streets whether we notice it or not. This concept really inspires me as I admire this contrasting effect formed through different ways. The graphical prints created by the sold block colours which are further expressed with details create this type of contrast as unusual shapes and outlines are formed through this.

• How you wish to develop your project?

Inspiring artists Saul Leiter and Lee Friedlander, show how they use similar techniques being inspired by formalism. I am going to take various approaches they use, in particular abstraction. This idea of presetting photos in an unrecognisbae way, but engages you through the use of expressive formations and vibrant colours presents a unique perspective of street photography.From for example using popele as subjects withtin the street. This will allow me to create a contrasting feature to explore with overall adding more to the image.

I want to use aspects of street photography within my own work, inspired by Lee Friedlander and Saul Leiter. Then further zooming into aspects that are personal. For example looking at signs, then seeing this in relation to someone within a photo, like getting their expressions and relation to the words. Further developing this by zooming in on how this signing and wording has a relationship with them personally. This will create this documentary and series of photos that express this gripping narrative, and unique approach to street photography. Exploring this through the composition of lines, pattern, space, form to colour, texture and tones, which will help me achieve this high contrast effect between these different elements, working together communicating this engaging and visually appealing narrative.

• Which form you wish to present your study (photobook, film, prints etc)
• When and where you intend to begin your study?

I am going to start off with capturing interesting formations and structured elements that i and interesting and unique, from signs and wording, to reflections of people through windows to buildings which will create this visually appealing composition. When taking the photo I want to have in mind this element of high contrast which I am going to express through the photo; layouts, lines, how the person is displayed within this, overall creating engaging shapes and colours.

how you interpret the themes of ‘OBSERVE, SEEK, CHALLENGE’

Throughout Observe, seek and challenge I am going to explore street photography and people but making it personal through using people I know and places I am familiar with, documenting a story that personal to me, following . Inspired by Saul Leiter, I love his use of bold compositions created by contrasting elements through colours, reflections, lines, shapes. I love this structural look created by colour, shape, texture, composition, pattern, line, space ,

This will overall help me a I feel this approach wiI want to show a journey throughout, creating a sequence of photos.

• I am going to take photos at different points of the day, for example during peak hustle and bustle times of the day, to during the evening and at night.
• At night – capture people going out, in their outfits,
• look at buildings that have a meaning around time then focus in on someone – follow them i the moment