Lines

Lines are common in photographs. They are all around us, and every photo has lines. These lines often connect different points within the image. Sometimes, lines come into the photo from outside the frame or lead out of it. The type and direction of lines in your image can convey meaning. Vertical and horizontal lines suggest stability or a still feel. Horizontal lines can show distance, while vertical lines can represent height, balance, and strength. Diagonal lines create a more active scene.

Shape

In a photograph, a silhouette represents the simplest form of a shape, lacking any details like texture or color. Because it stands out sharply against its background, a silhouette is very noticeable. Shapes are typically defined by lines that either intersect or enclose them. They can also be identified by their brightness or darkness compared to their surroundings. Differences in color, texture, and pattern around a shape can help distinguish it further. Additionally, shapes can be defined by other shapes around them, like the arrow in a well-known shipping company’s logo. The area that contains a shape is known as positive space, while the area outside it is called negative space sometimes, the negative space can create its own shape.

Space

Adding space in your photos helps create a sense of scale and depth. It gives your main subject some breathing room, letting viewers focus on the key elements of the scene. This is especially helpful in outdoor photography, where you might want to highlight the size of features like mountains or lakes. However, you can use space effectively with almost any type of photography.

Repetition

Repetition in photography is the technique of using similar elements, patterns, or themes in a composition to create a sense of rhythm and balance. This can include repeatedly using lines, shapes, colors, textures, or other visual elements to achieve consistency. Examples of repetition in photography could be a row of trees, a series of arches, a field of sunflowers, or a group of people dressed alike. By repeating these elements, the photographer helps guide the viewer’s eye across the image, establishing a visual rhythm.

Texture

Adding texture to your composition can enhance your image and connect the viewer to it, especially in macro photography. You can find textures in various surfaces and environments. To highlight these textures, try different lighting setups and depth of field options. For instance, use flat light and position the camera directly in front of a weathered wall to emphasize its surface. But also, backlighting can reveal details in sand dunes, a shallow depth of field can showcase intricate materials, and a long exposure can create a smooth effect on flowing water.

Colour

One of the most essential formal elements in visual imagery is undoubtedly colour. The use of colour, whether it appears as a solid block or as a harmonious grouping of similar shades, has the potential to create a particularly strong and memorable impact on the viewer. Different colours are not just aesthetically pleasing, they also hold significant power in terms of expression, allowing them to resonate with those who view with the image.

Value/Tone

Tone of your image is also very important in terms of formal elements, in which focusing on using contrast and the balance of light and dark areas. Tone is especially important in black and white photography, as it helps direct the viewer’s attention in the absence of color.

Francis Bruguière

Bruguiere had a pretty impressive career, shooting for famous magazines like Vogue and Vanity Fair. He got into photographic abstraction and even made some cool cut paper designs, which really leveled up his art. In 1928, he showed his work at the der Strum gallery in Berlin and got a lot of praise. That same year, he moved to London, where he started playing around with light, which became a big part of his style. In 1930, he teamed up with Oswell Blakeston to create Light Rhythms, England’s first abstract film, inspired by his light experiments. Later on, he wanted a more laid-back lifestyle, so he moved to Northamptonshire and kept creating art until he passed away.

My response to Francis Bruguière:

These are all the photographs I’ve taken that focus on paper photography and my interpretation of Francis Bruguiere’s work. To organize these images, I created a color-coding system. Green indicates photos that meet a pretty good standard, meaning they are clear and well lit, which enhances their quality. Yellow signifies images that aren’t quite as good but still have editing potential. These yellow-coded photos may have issues like being slightly out of focus or poorly lit. I believe both the green and yellow photos are still useful and can be improved through editing to highlight their best features.

Paper editing:

For editing, I used the develop tab to explore the black and white presets. There were many options, and I chose a sepia filter for some images. I also adjusted the exposure to create a darker look in certain photos, making the shadows more noticeable. I made slight changes to the contrast as well to emphasize the dark areas and enhance the shadows. These adjustments improved the visual impact of each photo and contributed to the mood I wanted to achieve.

Add evidence / screenshots of the following:

These are my photos that I think were good enough to be flagged. After they were flagged, I rated them on scale from 1-5. This allowed me to assess the quality of of the pictures and help understand what differentiates and bad photo from a good one. These are a frame of reference to contacts sheets and how they are used by photographer to pick the best and most relevant work to their ideas

Edited Image:

To edit this image, I changed it to black and white and messed around with this setting that changed the grain, this made the photo and the subjects in the photo seems like they have more detail as the stand out more. I also changed the contrast and brightness to make the blacks and whites stand more out.

Comparing Images:

This is a comparison of the edited photo and the original, this gives a clear view of how the photo changed and how I could of done this. You then are able to analyse all the differences in each photo like for example you can tell that the image of the left seems more sharp and precise as a result of the edit techniques I used.

This is a contact sheet on some of the photos I did, this shows a clear example of the photo shoots I did for shutter speed and for apperture.

Jaroslav Roster

Jaroslav Rossler was a notable Czech photographer who played a significant role in the modernist movement in Czechoslovakia. He was born in 1902 and gained fame for his creative blending of artistic expression with avant-garde photography techniques. Rossler was a key member of the influential art collective Devetsil, aiming to incorporate a range of artistic fields. His art frequently delved into abstract and geometric themes, challenging the limits of traditional photography. Rossler’s influence in the field has endured, and his photos are admired for their distinctive viewpoint and skillful craftsmanship. He died in 1990, leaving a valuable legacy in the field of visual arts. 

My Paper Photoshoot:

Best Image Selection:

Editing:

I used photoshop and changed the images into black and white to emphasise the shadows and then contrast and sharpness to define the futures within the photo which made the dark parts have more depth and the lighter bits brighter. In the end I cropped the image to make the subject of the photo more prominent.

This composition of photos work well together because they have all been edited in similar ways. The tonal value of the photos has been increased due to the changing of contrast and sharpness creating darker shadows and brighter highlights. It is clear in all photos the papers have asymmetrical lines which incorporates formal elements generating a visual appeal and guides the viewers focus throughout the presentation of the images.

In this composition of photos I scrunched up pieces of paper and laid them out and took close up photos of the creases within the paper. When editing all the photos I used Lightroom with the pre made settings , B&W punch, which emphasises the textures, showcasing the forms and shades.

Initial ideas:

Environments:

Subject/s: I intend to take photos of my family members.

Environments: Each person will be photographed within an environment that connects to them. E.g:
– Father: will be photographed in his car workshop.
– Mum: will be photographed in her vegetable garden.
– Sister: Will be photographed in her workplace laboratory.
– Cousin: Will be photographed at the rowing club
– Cousin 2: Will be photographed in her band
– Uncle: Will be photographed on his farm

Poses: I intend for the poses to be quite neutral, as if the subject has just paused while in their natural environment.

Gaze: I intend for the subjects to make eye contact with the camera to connect with the viewers more. However, I will also experiment with various different gazes.

Composition: I intend to experiment with various compositions, including central framing and the rule of thirds.

Framing
I will experiment with full body, 1/2 and 3/4 headshots. I will avoid a tighter crop, to ensure that more of the environment is visible.

Orientation:

I intend for most of my portraits to be landscape to show more of the environment.

Aperture.
I will experiment with a small / medium aperture to create a long and medium depth of field. This will allow the background to be recognisable and connect people with the environment more.

August Sander:

August Sander was a German photographer whose work documented the society he lived in. He was one the most-important portrait photographers of the early 20th century.

Short Bio:

The son of a mining carpenter, Sander apprenticed as a miner in 1889. Acquiring his first camera in 1892, he took up photography as a hobby and, after military service, pursued it professionally, working in a series of photographic firms and studios in Germany.

By 1904 he had his own studio in Linz, and, after his army service in World War I, he settled permanently in Cologne, where in the 1920s his circle of friends included photographers and painters dedicated to what was called Neue Sachlichkeit, or New Objectivity.

His Photographs:

After photographing local farmers near Cologne, Sander was inspired to produce a series of portraits of German people from all strata of society. He was committed to ‘telling the truth’. His portraits were usually stark, photographed straight on in natural light, with facts of the sitters’ class and profession alluded to through clothing, gesture, and backdrop. At the Cologne Art Society exhibition in 1927, Sander showed 60 photographs of “Man in the Twentieth Century,” and two years later he published Antlitz der Zeit (Face of Our Time), the first of what was projected to be a series offering a sociological, pictorial survey of the class structure of Germany.

Typologies:

Sanders was one of the first portrait photographer to produce a series of typological studies. ‘The Face of Our Time’ categorised his portraits according to their profession and social class, or ‘types’. As a typology, these photographs prioritized “collecting” rather than stand-alone images. They became a powerful method of revealing a photographic record of the people of his time.

The portraits:

Sanders’ photographs are mostly black-and-white portraits of Germans from various social and economic backgrounds: aristocrats and gypsies, farmers and architects, bohemians and nuns. The portraits often include familiar signifiers (a farmer with his scythe, a pastry cook in a bakery with a large mixing bowl, a painter with his brushes and canvas, musicians with their instruments, and even a “showman” with his accordion and performing bear), but sometimes the visual clues to a subject’s “type” are not so obvious, leaving the title of the work and its placement in one of Sander’s categories to illuminate the subject’s role. The titles Sander assigned to his photographs do not reveal names, and capture one of the project’s many contradictions: Each photograph is a portrait of an individual, and at the same time an image of a type.

“Nothing seemed to me more appropriate than to project an image of our time with absolute fidelity to nature by means of photography,” he once declared.

“Let me speak the truth in all honesty about our age and the people of our age.”

During the war

When the Nazis came to power in 1933, however, Sander was subjected to official disapproval, perhaps because of the natural, almost vulnerable manner in which he showed the people of Germany or perhaps because of the diversity it revealed. The plates for Antlitz der Zeit were seized and destroyed. (One of Sander’s sons, a socialist, was jailed and died in prison.) During this period Sander turned to less-controversial rural landscapes and nature subjects. Late in World War II he returned to his portrait survey, but many of the negatives were destroyed either in bombing raids or, later in 1946, by looters.

Konfirmandin

In the early portraits such as ‘Konfirmandin (Confirmation Candidate)’, Sander portrays pastoral families in their Sunday-best, an insight on how these communities chose to present themselves to the camera.

‘Handlanger (Bricklayer)’.

This photograph belongs to ‘The Skilled Tradesman’, one of seven chapters within his ‘People of the 20th Century’ project. The title and subject of this photograph form an archetype of Sander’s sociological documentation of people from a variety of occupations and social classes. Formally, the portrait’s centrality, flat background and conventional framing demonstrate Sander’s investment in photography as a ‘truth-telling’ device; one which represents reality as it is, without formal experimentation and within the boundaries of the history of photographic portraiture. Sander wrote in his seminal lecture ‘Photography as a Universal Language’ that photography was the medium most able to best reflect the ‘physical path to demonstrable truth and understand physiognomy’.

‘Sekretärin beim Westdeutschen Rundfunk in Köln (Secretary at West German Radio in Cologne)’,

When Sander developed People of the 20th Century, he included the group ‘The Woman’. Among these subjects is ‘Sekretärin beim Westdeutschen Rundfunk in Köln (Secretary at West German Radio in Cologne)’, photographed during his work for the German public broadcasting institution ‘Westdeutscher Rudfunk’. The portrait draws comparison to Otto Dix’s ‘Portrait of the Journalist Sylvia von Harden’ painted five years earlier. They both depict a new movement of women at work during the time—simultaneously androgynous and feminine, liberated from the domestic sphere. The portraits are important within the rise of the New Objectivity movement in German art—a reaction against the dominant style of expressionism—seeking a more objective and unsentimental portrayal of the human figure.

Image Analysis

Untitled image, from book: The face of our time, published in 1929​

Subject:

​This photo consists of an elderly man using his two walking sticks seen in the foreground. He appears to have paused while walking up the lane in the background. We can tell the man is old by his posture, bent and twisted around stiffly to face the camera, as well as the white facial hair.

The subject of the photo looks as if he has been walking along the road and has paused to face the photographer. The subject is positioned to the right of the frame, facing the centre of the frame and towards the negative space to the left. This draws our attention through the photograph to the building in the background, and gives a sense that this is where the man is walking to. His neutral expression gives a sense that this is a natural pose. As if this is not staged, but a photo of a man in his natural environment. ​

For me, I feel like Sander’s photographical types allow us to connect with the subjects. The eye contact with the camera lures us into the photo, in a neutral and unimposing manner. The subjects seem real, relaxed in their daily routine, and at home in the environment that surrounds them. The photo seems to celebrate everyday types of people, inviting us to get to know the essence of the person in the photo.

The environment:

The house in the background appears to be a traditional Tudor building featuring a façade with white stucco exteriors punctuated with decorative half-timbering or a dark brick-and-stone construction. The traditional building gives a sense that this is a charming and humble environment where the subject lives.

Visual:

This photograph, and all of Sanders’ photographs are black and white. While this is a result of camera limitations of the time, the monotone aesthetic contributes to Sanders’ typographical approach, making each photo appear like it belongs to the same colletion. ​

The monochromatic aesthetic also enhances the tonal values in the photograph. The dark tone of the shrubbery that sits to the right of the photo with the subject, contrasts the lighter  pathway to the left, drawing your eye into the photo and towards the house.​

The unkept and rustic texture of the shrubbery and pathway suggests that this is a rural area.

Leading Lines

The main leading line draws your attention from the bottom right corner of the page, up to the subject and then through to the house. ​

Furthermore, the angle of the walking sticks lead the eye directly to the subject’s face.​

Balance:

The line created by the shrubs in the background and cut through the photo, divide the photo into two halves. The bottom half consists of the pathway, a more empty or negative space, to contrast the weight of the details in the top half of the photo. ​

Composition:

Looking closely it could appear that Sander has used the rule of thirds to construct this image. The subject sits on the intersection of the right third, while the house sits within the top left third. The subject occupies 2 thirds of the photo, making it the primary focus. ​

Angle: ​

The photo is taken from an eye-level direct perspective. This creates a more intimate connection between the subject and the viewer, it gives a very neutral eye.

Technical ​

This photo uses natural lighting, contributing to the genuine nature of the photograph. The balanced exposure is free from formal experimentation.​

The large aperture in this photo creates a shorter depth of field, bringing our attention to the foreground of the photo – the subject.

Context:

This photograph is from Sanders’ book ‘Face of our time’. ​ The book was first published in 1929, with a foreword by German writer Alfred Dublin. On its first publication, it was advertised as follows: “The sixty shots of twentieth-century Germans which the author includes in his Face of Our Time represent only a small selection drawn from August Sander’s major work, which he began in 1910 and which he has spent twenty years producing and adding fresh nuances to. The author has not approached this immense self-imposed task from an academic standpoint, nor with scientific aids, and has received advice neither from racial theorists nor from social researchers. He has approached his task as a photographer from his own immediate observations of human nature and human appearances, of the human environment, and with an infallible instinct for what is genuine and essential.​

Conceptual:

The book is not ‘faces’ of our time, but ‘face’, singular. Suggesting that collectively, these people make one. It could be suggested that Sander’s concept was to unite these people as one collective representation of his time. There is no theory behind the work, just a look at the this period of time, on the face of it. ​

Another analysis layout:

Use the template below to help you analyse photos:

1. Research the photographer

About Arnold Newman:

One of the most important photographers of the 20th century, Arnold Newman is known for his portraits of major cultural figures, such as Pablo Picasso, Aaron Copland, Marilyn Monroe, Donald Judd, and Josef Albers. ​

Newman was credited with popularising environmental portraiture, a style that captures subjects in their surroundings and uses significant details to communicate their profession and personality. ​

Newman’s famous photograph of Igor Stravinsky, for example, is dominated by a grand piano silhouetted against a white wall, with the composer confined to the corner.

 2. Analyse a chosen photo in depth:

Expand on the below bullet points, turn into full paragraphs.

Visual:

• Sitter is the main focal point
• Central
• Framed by concrete pillars – cold – industrial
• Sitter is leaning forward into the photo – with clasped hands and strong eye contact- confident – sinister
• Background is industrial… it looks as though the sitter is in ownership or in charge of the environment
• Leading lines – from the top of the image, lead to the sitter’s portrait
• Balance – Light on the top of the photo, contrasts the dark on the bottom – creating balance
• Contrast- strong contrast…. exaggerates the sinister atmosphere
• The sitter appears raised / elevated above the background – he’s in charge

Technical

• Lighting – Could be artificial – creates strong contrast on the sitter’s face. Making him look more sinister and darkening his gaze
• Aperture – Could be medium aperture – Sharp foreground, slightly softer background. Still able to identify some of the environmental details.
• Shutter speed – could be quite a fast shutter speed as the subject is in focus, with a balanced exposure
• Angle – Eye level with the sitter – feels like we are sitting opposite them. We connect with them more. Maybe we feel more intimidated…. Sitter looks more confrontational.

Contextual

Use the internet to help you unpack more about the subject

• Who is the subject? – Alfred Krupp
• Industrialist who ran war factories manufacturing arms for the Nazi assault on Europe.
• Using slave labour from the internment camps, where the prisoners of war were literarily worked to death.
• The majority of the men and boys who perished were Jewish and Krupp holds a particular place of hatred amongst its people.​
• Arnold Newman was Jewish himself
• Reluctant to take photo but eventually agreed

• When composing the shot, Newman asked Krupp to lean forward slightly, when he did he clasped his fingers together under his chin.
• The light hit the face perfectly and when Newman saw this effect he said ‘That he felt the hair stand up on the back of his neck’.
• He took the photo which became one of Newman’s most iconic images.

Concept:

• When Krupp saw the picture he was said to have been furious
• For Newman this was a little bit of revenge.​
• The photo captures Krupp in a sincere and menacing light
• The circulation of the photo brought Krupp out from the shadows and allowed Newman to share his hatred for his man with the world.

​

Texture in photography refers to the quality of the surface of an image. It conveys depth and detail in each image you take. The textures can be emphasised through the lighting and focus which can enhance the surfaces to appear more smooth, rough, and hard.

This texture photoshoot includes different textures I could find in nature, including objects like bark, mushrooms, leaves, moss, twigs, rocks, and wood chips. I decided to take these images as I thought it was a creative way to present texture in objects around us.

Artist Research

Ernesto Ruiz

Ernesto was born and raised in Puerto Rico and moved to Minnesota to study and learn more about architecture, where he discovered his passion for photography. In his photos, there is a strong sense of natural light used to shine on mainly the centre of the images. This encourages the viewer to focus on the centre, where the most details are. The space surrounding the image is very compacted, which produces a busy focus for the viewer.The colours featured in these images are enhanced, but still the same shades of bark you would expect to see. Ruiz captures texture well by zooming into his images from straight ahead, which enables us to see the outlines of bark.

Photoshoot Plan

To do this photoshoot, I will need to go out to a park and take images of the natural surroundings, such as bark to replicate Ruiz’s work. I will also take photos of other natural objects I find, but my main priority is taking images of bark from the trees. In order to do this photoshoot, I need to make sure the lighting is bright and that I zoom in to get the effects of the bark like he does.

Contact Sheet

Best Photos

I imported all of my texture images onto Lightroom and individually highlighted each one to make it more clear. As you can see, there is a range of images that I selected that I would like to use (green). This colour coded method helps me to identify which images to use on photoshop more effectively as it takes less time since I don’t have to go through each one to select a good image.

After discovering my favourite images, I went into photoshop to edit the best photos I have and make edits of them to present as my final piece.

Reflection on the photoshoot:

A lot of these images I really like, as they represent texture in various ways. However, towards the end of the photoshoot, it began to rain, which meant that the camera lens had raindrops on it. This made a lot of my end images look blurry which made it difficult to get the accurate representation of the texture.

Editing

To improve my images, I concluded that I would upload the green selected ones from Lightroom into Photoshop so I was able to edit them. By doing this, it allows me to be able to present my work in the best form as they need to be edited in order for them to be presented. For my three edits, I marked the images I liked best and wanted to up level them by changing the hue and saturation, making a mirror image, and circles in my work as shown below.

Edit 1 – Hue/saturation

For this edit, I decided to enhance the colours to create a unique and attention-grabbing effect, by making the colours unusual to what they would actually be.

I did this by first cropping my images, then pressing ‘image’ then ‘adjustments’ then ‘hue/saturation’ to play around and change the colours so they still look somewhat natural.

Below is my final product of this edit, and as you can see they all fit nicely together. I decided to do three images in one piece as it gives you an idea of the edit I am creating, and the overall theme of it (which is the use of the different colours).

Edit 2 – Mirror Image

My second edit is the mirror image, where your image is reflected on the other side to make an intriguing pattern from your photograph. I began by opening my image and adding a background layer so I could flip the image both horizontally and vertically as you can see below.

 

After achieving this, I repeated these steps 2 more times to have the finished look. I cropped the image to ensure the background wasn’t in my edit. This image generates patterns that weren’t originally in the image, so it attracts the viewer as each edit you do of this will look completely unalike.

Edit 3 – Circles

For my last edit, I cropped each image to become a square shape, and engraved a large circle in each of the images. Once I achieved that, I rotated the circles so they were facing different directions to the original image, and then edited the circle to become a monochrome tone. This helps catch the viewers attention as the change of direction through the lines creates a saddened tone paired with the dark colours. Then, I edited the background to match the vibe and made it a darker tone. By doing this, I created a dark tone to the images overall.

Final Piece:

For my final piece, I decided to go with my third edit, as I feel as though it resinated with the artist the most in terms of him taking images of bark. It is also a creative design to present, as it has elements of line, texture and pattern which are all included in the formal elements.

Art Gallery

Lastly, I uploaded my final images to the art gallery which enables you to walk around and view your photography work like it is in a gallery. I spaced these images out to individualise them but still have the effect of them being united as similar pieces.

Evaluation

Overall, I believe my work somewhat connects to Ruiz’s work as he takes images of the bark from close up like I did. Unlike him, I shifted my work to monochrome colours to highlight the details scattered throughout the bark trees, whereas he kept the colours shown and did not edit it like mine. I also took other images of the natural textures, but mainly focused on the bark trees. To improve my work I would stick to his style and make the colours more warm toned without making it black and white, and zoom in more to really capture the small outlines in the bark like he does.

Francis Bruguière

Francis Joseph Bruguière was an American photographer. He was born on  October 15, 1879, San Francisco, California, United States and he died on May 8, 1945 (age 65 years),  Middleton Cheney, United Kingdom.

Photos of his work.

My Paper Photoshoot

Contact Sheet

As you can see above I took 24 images from the camera of some different angles and shape of the paper until I found the one that I wanted to use, I then continued to take many of photos of one one type of paper style I liked with different camera settings and different lighting conditions to achieve the ideal result I wanted.

Photos I Didn’t Like

I didn’t like this photo due too lots of darkness, with having lots of darkness means it wont attract people to look at them and like them. It also gives no proper final image. This photo taken with a shutter speed of 1/800 of a second and an aperture of 4.

I didn’t like this photo due the balance of the photo on both sides. the left side has more negative space rather than the right side. There is no rule of 3rds present in this photo. This photo has a shutter speed of 1/100.

Lastly, I didn’t like this photo because of due to being blurry, which also gives it a degrading quality. This photo had an aperture of 25 which means not a lot of light has been let through to create a perfect image. It also had a shutter speed of 1/5, which is low.

Selection Process

As you can see above I pressed P to keep the images I wanted to use for my final photos. I used X to get rid of the images i didn’t wanted to use for the future. Then I gave a rating for the images, they all had a rating out of 5. With a rating of 5/5 means they are my best images that I love. The images with 4 and 5 stars are the images I wanted to use for my final photos. The photos I didn’t like I rated 1-3 stars. With a rating 1-3/5 means these where the photos I hated. Finally I gave them the colour yellow or green, green being the best and yellow being average . Red was for very bad photos. I will edit the images so I can present final photos.

Editing my Best Images

These are my three best images that have been edited.

This photo had to get rid of some of the negative space due to be being unbalanced on the foreground and the in the background. This means the photo is not equally distributed on each side that is the reason I had to crop it. I originally started with lots of negative space in background, rather than the foreground.

When cropping, I made sure the photo was balanced on each side from the background to the foreground.

I put the texture on this photo 100 to enhance the material of the paper.

In this image I had to crop a bit of the photo due to the sides of the photo not being proportional. If I hadn’t cropped the photo, the photo would look unbalanced and there would be too much negative space on the left side side of the photo rather than the right side of the photo.

After being cropped the photo looks more visually pleasing.

The space in the photo appeared very big to begin with but after I cropped it the space has decreased, so you can’t see the whole of the photo.

In this photo I had to crop lots of it due to the sides of the photo not being proportional and not being balanced enough. If I hadn’t cropped the photo, the photo would look unbalanced and there would be too much negative space on the left side rather than the right side of the photo.

After being cropped the photo looks more aesthetically pleasing and good to look at.

For this image it had two main textures which is the black card underneath to being smooth and the white paper being rough due to being cut out.

Photos Edited Into A White Filter

My Edited Photos into a White Filter.

In this photo I had to slightly crop it due to the sides of the photo not being proportional. If I hadn’t cropped the photo, the photo would look unbalanced and there would be too much negative space on the background of the photo.

The space in the photo appeared very big to begin with but after I cropped it the space has decreased, so you can’t see the whole of the photo.

The image appears to have a range of textures from the black card underneath to being smooth and the white paper being rough due to being cut out.

This photo had to be slightly cropped it due to the sides of the photo not being proportional and balanced . If I hadn’t cropped the photo, the photo would look unbalanced and there would be too much negative space on the background and the foreground of the photo.

The space in the photo appeared very big to begin with but after I cropped it the space has decreased, so you can’t see the whole of the photo.

The image appears to have a texture of the white paper being rough due to being cut out. Another texture in this photo is white card underneath which is smooth to touch.

This photo had to be slightly cropped it due to the sides of the photo not being proportional and balanced . If I hadn’t cropped the photo, the photo would look unbalanced and there would be too much negative space on the background and the foreground of the photo.

The image appears to have a texture of the white paper being rough due to being cut out. Another texture in this photo is white card underneath which is smooth to touch.

The white filter I used on this photo is BW09 which is on Lightroom. In this photo is also enhanced shadows and the texture.

Photos Edited Into A Black Filter

My Edited Photos into Black

This photo had to be slightly cropped it due to the sides of the photo not being proportional and balanced . If I hadn’t cropped the photo, the photo would look unbalanced and there would be too much negative space on the background and the foreground of the photo.

The space in the photo appeared very big to begin with but after I cropped it the space has decreased, so you can’t see the whole of the photo.

The image appears to have a texture of the white paper being rough due to being cut out. Another texture in this photo is white card underneath which is smooth to touch. Also on this photo the paper appears to have a bit of a fuzzy texture due to +100 on the dehaze setting on Lightroom, this makes it have an interesting texture.

This photo had to be slightly cropped it due to the sides of the photo not being proportional and balanced . If I hadn’t cropped the photo, the photo would look unbalanced and there would be too much negative space on the background and the foreground of the photo.

The space in the photo appeared very big to begin with but after I cropped it the space has decreased, so you can’t see the whole of the photo.

The black filter I used on this photo is BW12 which is on Lightroom. In this photo is also enhanced shadows and the texture. It has also made the paper shadows pop out more and to be more present.

This photo had to be slightly cropped it due to the sides of the photo not being proportional and balanced . If I hadn’t cropped the photo, the photo would look unbalanced and there would be too much negative space on the background and the foreground of the photo.

After being cropped the photo looks more visually pleasing.

The space in the photo appeared very big to begin with but after I cropped it the space has decreased, so you can’t see the whole of the photo.

The black filter on Lightroom I used on this photo is BW11 which is located on Lightroom. In this photo is also enhanced shadows and the texture. It has also made the paper shadows pop out more and to be more present.

My Final 6 Photos

These photos are my favourite 6 photos, I have created. At the start I started with 12 photos then narrowed it down to 6 final photos. These photos have a mix of colour and black and white. By having colourful photos artists will use the desired mood and it will enhance their feelings. Also by using black and white the photographer will find it a way of concentrating on the viewer’s attention of a particular subject and also the photographer will feel it is more emotive. By having some straight lines in the photos it means these lines have geometric quality and also have centre of attention. The texture on all of these photos means that the paper looks quite rough to touch and feel. The images that I took had lots of negative space around it so I had to crop it to make the photos balanced on each side.

Art Steps Photos

I think Art Steps is a great way to showcase your photos on a display.