First Task
White Paper Task
The task was to take 24 unique, abstract photographs of a piece of paper by experimenting with different lighting angles, colours and brightness.
Jaroslav Rössler was a Czech avant-garde photographer who became known for combining different styles of modern photography including cubism, futurism, constructivism, new objectivity, and abstraction. His photographs often reduced images to elementary lines and shapes, exploring the contrast of light and shade. He experimented with a wide range of techniques and processes including photograms and double exposures.
The task was to take 24 unique, abstract photographs of a piece of paper by experimenting with different lighting angles, colours and brightness.
Jaroslav Rössler was a Czech avant-garde photographer who became known for combining different styles of modern photography including cubism, futurism, constructivism, new objectivity, and abstraction. His photographs often reduced images to elementary lines and shapes, exploring the contrast of light and shade. He experimented with a wide range of techniques and processes including photograms and double exposures.
Another artist using this exploration is Tamara Lorenz creates various constructions which she then photographs to exploit their abstract properties. The addition of strong planes of colour provide another source of contrast in addition to those of line, shape, tone and texture. Rather than photographs of things, each image seems to create its own reality. Consequently, the viewer is unable to recognise a conventional subject and is occupied with the business of looking.
White Paper Task - Contact Sheet
I drew together a combination of ideas from these artists, experimenting with Rossler's curves and structures in black and white as well as Lorenz's colourful explorations in which I used gel sheets and a light behind to make the white paper appear to have colour. I also experimented with reflections to add dimension and depth into the image.
In my opinion, the most successful images are image 4 and 14.
At first, we found it difficult to position the camera flashlight in a way that would render it invisible in the image; thus we moved on from a tunnel light idea onto a downward light that cast shadows which is evident in image 4.
We then proceeded by placing the flashlight underneath the paper to create an illuminated image and continued by masking the illuminated paper with transparent coloured paper in front of the lens in order to colour the white paper.
Finally, we used a tiled mirror to create a reflection image that displayed the under-layer of the paper and therefore a new aspect to the image.
At first, we found it difficult to position the camera flashlight in a way that would render it invisible in the image; thus we moved on from a tunnel light idea onto a downward light that cast shadows which is evident in image 4.
We then proceeded by placing the flashlight underneath the paper to create an illuminated image and continued by masking the illuminated paper with transparent coloured paper in front of the lens in order to colour the white paper.
Finally, we used a tiled mirror to create a reflection image that displayed the under-layer of the paper and therefore a new aspect to the image.
Abstraction Homework Task
The task was to experiment taking abstract photography to demonstrate what abstract meant to the individual.
I began by taking images of household objects such as: a shirt, a radiator, a ceiling with light reflection, the reflection of water droplets on a transparent pan lid reflected on to a wooden table, and the gas hob. I deliberately took these images very close up to the subject matter in order to devalue the object so that it was not immediately obvious what the subject matter was. As a result, the eye focuses on the patterns, textures and colours present in the image and allows the viewer to make their own, personal interpretation of the image at hand. This suits my interpretation of abstraction whereby the image is there to be interpreted due to the lack of clarity and the viewer spends more time evaluating the image.
My last 4 images are my take on light painting. This was inspired by Eric Paré who experiments with time and light in his photography. He tends to have a model in front of a formation of light, however he uses a long rod of light whereas I used several small lights, therefore the effects vary.
The images were taken on a slow shutter speed whilst my sister held the lights and made various patterns by different movements. The final image is my favourite of the light painting as the blue light creates a tunnel into the distance whilst the red light could appear to be a path through the tunnel, out of all my images it is the most mysterious and perhaps has the most opportunity to have varying interpretations.
The task was to experiment taking abstract photography to demonstrate what abstract meant to the individual.
I began by taking images of household objects such as: a shirt, a radiator, a ceiling with light reflection, the reflection of water droplets on a transparent pan lid reflected on to a wooden table, and the gas hob. I deliberately took these images very close up to the subject matter in order to devalue the object so that it was not immediately obvious what the subject matter was. As a result, the eye focuses on the patterns, textures and colours present in the image and allows the viewer to make their own, personal interpretation of the image at hand. This suits my interpretation of abstraction whereby the image is there to be interpreted due to the lack of clarity and the viewer spends more time evaluating the image.
My last 4 images are my take on light painting. This was inspired by Eric Paré who experiments with time and light in his photography. He tends to have a model in front of a formation of light, however he uses a long rod of light whereas I used several small lights, therefore the effects vary.
The images were taken on a slow shutter speed whilst my sister held the lights and made various patterns by different movements. The final image is my favourite of the light painting as the blue light creates a tunnel into the distance whilst the red light could appear to be a path through the tunnel, out of all my images it is the most mysterious and perhaps has the most opportunity to have varying interpretations.
Developing the Essence of Abstraction in Photoshop
I then used photoshop to merge two images together (4&9) and to re-expose them through layering by changing the opacity of the top layer whilst experimenting with shapes and colour schemes whilst working with morphing perspective and inserting lens flare.
Abstract Experiments
To create abstract images many photographers made an attempt to destroy their photographs in order to create a form of chemigram in which bleach, scratching and various other methods to create an unusual image.
Joris Jansen approaches an analogue photo from an encyclopedic perspective. Jansen describes and photographs the picture in microscopic detail: from the literal image in the photo, to the physical elements with which it is made.
Joris Jansen approaches an analogue photo from an encyclopedic perspective. Jansen describes and photographs the picture in microscopic detail: from the literal image in the photo, to the physical elements with which it is made.
Maddie Moughton in her Bleached series took small photographed natural landscapes and then after developing her negatives dipped them in bleach. She then made prints from the bleached negatives. The result being a beautiful mix of vibrant colour and destruction.
Chemigrams
For my chemigrams I took photographic paper into the light so that the entirety of the paper was exposed. However, before subjecting the paper to the normal developing process I placed various substances on the paper (nivea cream, honey, oil) which would provide an obstruction to the developer meaning the areas covered in the substances would not have a change to develop and would therefore appear unexposed.
Although it should be noted that the paper used was different and so created a varying colour scheme. On the left image the white areas are the exposed and developed areas and the same with the brown areas on the right image.
They successfully recreate Moughton's image of destruction in the under exposed areas with their varying shapes although they did not recreate Jansen's work. However, working only with blank paper and obstructive chemicals I think they were relatively successful in recreating Moughton's work considering she had an original image that she then bleached rather than created from scratch. The right image is more successful in the areas that were obstructed as it appears as fibres and patches of colours that somewhat resemble trees in the left hand corner thus complementary to Moughton's work of the natural world.
Although it should be noted that the paper used was different and so created a varying colour scheme. On the left image the white areas are the exposed and developed areas and the same with the brown areas on the right image.
They successfully recreate Moughton's image of destruction in the under exposed areas with their varying shapes although they did not recreate Jansen's work. However, working only with blank paper and obstructive chemicals I think they were relatively successful in recreating Moughton's work considering she had an original image that she then bleached rather than created from scratch. The right image is more successful in the areas that were obstructed as it appears as fibres and patches of colours that somewhat resemble trees in the left hand corner thus complementary to Moughton's work of the natural world.
Studio Abstract Portrait
Bill Jacobson
Jacobson wanted to convey 'layers of time' in his images and uses the technique of blurred images in a soft painterly style in order to convey a sense of futility regarding the human likeness. He was partly inspired by early 20th century photographs and blurred or obscured objects of the medium's early pioneers.
In the 1990s he then developed this technique to portray the loss experienced by family and friends when a loved one was victim to the AIDS epidemic; these images feature shadowy, pale figures that evoke the despair rendered upon them.
"Most photographs are meant as documents of moments we wish to hold onto forever. My work suggests that these moments like life itself are constantly fading into the past." Bill Jacobson.
Jacobson wanted to convey 'layers of time' in his images and uses the technique of blurred images in a soft painterly style in order to convey a sense of futility regarding the human likeness. He was partly inspired by early 20th century photographs and blurred or obscured objects of the medium's early pioneers.
In the 1990s he then developed this technique to portray the loss experienced by family and friends when a loved one was victim to the AIDS epidemic; these images feature shadowy, pale figures that evoke the despair rendered upon them.
"Most photographs are meant as documents of moments we wish to hold onto forever. My work suggests that these moments like life itself are constantly fading into the past." Bill Jacobson.
Response
After observing Bill Jacobson's work, I then attempted to recreate the portraiture photos with simplistic expressions against a white background.
After observing Bill Jacobson's work, I then attempted to recreate the portraiture photos with simplistic expressions against a white background.
Jacobson's portraiture was often in black and white to convey the anguish the AIDS epidemic arose in people's minds.
It is interesting how the exact same image can have two completely different meanings when one is in black and white. Immediately the feeling evoked from that image has a much darker undertone of despondency compared to the coloured image which simply appears to be a vacant stare. Black and white images often deliver a more serious thought into the mind. By removing colour the mind is forced to focus on the shapes presented in the image as opposed to the contrast of colours and what emotions they are associated with which could potentially alter the entire interpretation of the image. |
Erwin Blumenfeld
Blumenfeld was a German photographer who was one of the most successful photographers of the 20th century and best known for his fashion photography. He was inspired by the Dadaists who, after World War I, began an Anti-Art movement where they distorted images - in particular the distortion of people's faces - to create abstract illusions that required more thought to understand than the typical image of the time.
He produced an extensive body of work throughout his time, including black and white portraits. Often shooting for fashion magazines like Vogue and produced many celebrity portraits as he was a renowned fashion photographer. His portraiture were very unique as they broke the typical, rigid portrait style by experimenting with translucent objects like glass and sheets to create shadows and recurring images; in this way he brought abstraction into the portrait/fashion photography industry. Eventually, he was regarded as "one of the most innovative and influential photographers of the twenty-first century."
The techniques he used included solarisation, screens, wet silk, and dramatically elaborate shadows and angles. His coloured images consisted of very vibrant colours that accentuated a bright contrast between features that were obscured by glass (eg. top left and top middle).
Blumenfeld was a German photographer who was one of the most successful photographers of the 20th century and best known for his fashion photography. He was inspired by the Dadaists who, after World War I, began an Anti-Art movement where they distorted images - in particular the distortion of people's faces - to create abstract illusions that required more thought to understand than the typical image of the time.
He produced an extensive body of work throughout his time, including black and white portraits. Often shooting for fashion magazines like Vogue and produced many celebrity portraits as he was a renowned fashion photographer. His portraiture were very unique as they broke the typical, rigid portrait style by experimenting with translucent objects like glass and sheets to create shadows and recurring images; in this way he brought abstraction into the portrait/fashion photography industry. Eventually, he was regarded as "one of the most innovative and influential photographers of the twenty-first century."
The techniques he used included solarisation, screens, wet silk, and dramatically elaborate shadows and angles. His coloured images consisted of very vibrant colours that accentuated a bright contrast between features that were obscured by glass (eg. top left and top middle).
Response
One way Blumenfeld used distortion was with glass, and so I used this technique to distort the face of the subject.
One way Blumenfeld used distortion was with glass, and so I used this technique to distort the face of the subject.
Blumenfeld had a tendency to have elements of bright red behind the glass in order to have a focus and illumination. My subject already had a dark red top on and so I decided to alter the hue and saturation in order to achieve a similar affect.
However, Blumenfeld's red elements were distinct from the surrounding objects whereas, unfortunately, in my photoshopped image the entire image maintained a somewhat pink undertone which resulted in a lack of distinct colour between the red and the skin-tone. |
Saul Leiter
Saul Leiter had moved to New York where he befriended the Abstract Expressionist painter Richard Pousette-Dart, who was experimenting with photography. This friendship then increased Leiter's interest in photography and he began documenting street life in black and white. He then progressed and became a pioneer for colour photography with a distinctive, dreamy style that experimented with shallow depths of field and a vibrant palette; he also tended to obscure the person in view by occluding the subjects face throw shadows and objects such as umbrellas.
Erb argues that these images are closely related to his love of painting. “You can see influences of abstract expressionism in his colour work”.
Saul Leiter had moved to New York where he befriended the Abstract Expressionist painter Richard Pousette-Dart, who was experimenting with photography. This friendship then increased Leiter's interest in photography and he began documenting street life in black and white. He then progressed and became a pioneer for colour photography with a distinctive, dreamy style that experimented with shallow depths of field and a vibrant palette; he also tended to obscure the person in view by occluding the subjects face throw shadows and objects such as umbrellas.
Erb argues that these images are closely related to his love of painting. “You can see influences of abstract expressionism in his colour work”.
Response
I experimented with Leiter's style by going to streets in London and experimented with obscuring faces and figures through windows at telephone boxes and bus stop shelters. I also used people's reflections in shop windows to obscure the clarity of their facial features.
I experimented with Leiter's style by going to streets in London and experimented with obscuring faces and figures through windows at telephone boxes and bus stop shelters. I also used people's reflections in shop windows to obscure the clarity of their facial features.
3 Strands
Strand 1 - Daniel Sroka
The idea of three strand work is to develop and explore three different artists and their focus in photography which can then be interpreted and developed in my own manner.
My first strand experiments with Daniel Sroka's work of close up natural abstraction whereby he uses macro photography to focus on the textures of natural objects such as leaves, flower petals and water in order to convey a new, abstract meaning.
My first strand experiments with Daniel Sroka's work of close up natural abstraction whereby he uses macro photography to focus on the textures of natural objects such as leaves, flower petals and water in order to convey a new, abstract meaning.
My Response
For my first response to Daniel Sroka, I decided to experiment with fast shutter speed capturing falling water. I lowered the aperture also to maintain a low light situation in accordance with the fast shutter speed. In doing so, the focus is on the water itself and the light each droplet reflects rather than the distraction of the colours behind.
Sroka typically used a very short depth of field and so I found a similar example naturally where the water was falling off a small step covered in moss - which I used as my background for recreating a shallow depth of field. This achieved the focus on the image to be at the most immediate part of the image which is the water droplets and the general captured movement of water.
For my first response to Daniel Sroka, I decided to experiment with fast shutter speed capturing falling water. I lowered the aperture also to maintain a low light situation in accordance with the fast shutter speed. In doing so, the focus is on the water itself and the light each droplet reflects rather than the distraction of the colours behind.
Sroka typically used a very short depth of field and so I found a similar example naturally where the water was falling off a small step covered in moss - which I used as my background for recreating a shallow depth of field. This achieved the focus on the image to be at the most immediate part of the image which is the water droplets and the general captured movement of water.
The following image was the most successful in capturing the water in detailed focus whilst still conveying a sense of movement.
For my second response I focused on the close up of leaves.
Below is my contact sheet.
Below is my contact sheet.
Below are my most successful images in terms of representing Daniel Sroka's work.
I experimented with lens focus to obscure the shape and detail of parts of the leaf whilst other parts were in sharp focus to create an abstract contrast.
I experimented with lens focus to obscure the shape and detail of parts of the leaf whilst other parts were in sharp focus to create an abstract contrast.
Strand 2 - Hiroshi Sugimoto
Hiroshi Sugimoto is a Japanese artist best known for his seascapes where he would set up his camera by a sea and contrary to popular slow shutter speeds lasting between 1 and 5 minutes, Sugimoto experimented with hour long shutter speeds for his seascapes. He also experimented with slow shutter speeds in his building photography
My Response
For my first response I tried slow shutter speed on buildings to create an unfocused image of a modern building.
For my first response I tried slow shutter speed on buildings to create an unfocused image of a modern building.
3. Burned portraiture - Lucas Simões
Lucas Simões was an independant artist based in São Paulo who had a background in architecture and design. His perceptions of art were redefined by his experiences as an architect; he said "a drawing is more than a drawing: it is the intent that something concrete will materialise through the construction process". This outlook has influenced his drawing process and his constructive approach to his work with collage and sculpture.
His work was effective in erasing the essence of a memory by having only the face erased to show the vague existence of memories but highlights the distance with the persons soul and the emotional response to the predicament.
Simões uses source materials such as maps, books and photographs, which he then folds, cuts and deconstructs into new forms. ‘In my work’, he explains, ’the materiality of the supporting medium is important. The process of making the support a part of the work is achieved through the experiences it is subjected to, such as burning, cutting, distorting or diluting, which, at its most extreme, can destroy the subject.’ In doing so, he erases the memory of the person themselves; his distortion focuses on the subject's face which results in the distancing with the subject and their emotions. Although we are still aware of their predicament as he tends to leave the background untouched.
Simoes' intention is to intervene between the original meaning of an image and create a new representation: ’There is a kind of perversion in it, to take the meaning out of place,’ he says. ‘Strangeness is something that fascinates me, and to make it beautiful is even better.’
Lucas Simões was an independant artist based in São Paulo who had a background in architecture and design. His perceptions of art were redefined by his experiences as an architect; he said "a drawing is more than a drawing: it is the intent that something concrete will materialise through the construction process". This outlook has influenced his drawing process and his constructive approach to his work with collage and sculpture.
His work was effective in erasing the essence of a memory by having only the face erased to show the vague existence of memories but highlights the distance with the persons soul and the emotional response to the predicament.
Simões uses source materials such as maps, books and photographs, which he then folds, cuts and deconstructs into new forms. ‘In my work’, he explains, ’the materiality of the supporting medium is important. The process of making the support a part of the work is achieved through the experiences it is subjected to, such as burning, cutting, distorting or diluting, which, at its most extreme, can destroy the subject.’ In doing so, he erases the memory of the person themselves; his distortion focuses on the subject's face which results in the distancing with the subject and their emotions. Although we are still aware of their predicament as he tends to leave the background untouched.
Simoes' intention is to intervene between the original meaning of an image and create a new representation: ’There is a kind of perversion in it, to take the meaning out of place,’ he says. ‘Strangeness is something that fascinates me, and to make it beautiful is even better.’
My Response
For most of my pictures I focused on burning the face of my model. In doing so the essence and emotion of the image can be mostly removed, however, some still remains from the positioning of the body.
By burning away part of the image one can remove a part of the memory that the image was taken to create, this helps erase the memory and disconnect the subjectivity of the image.
Lucas Simoes' burnt images produced red and orange colours where the fire had been present, whereas my images burnt straight through the paper. This is probably down to the quality of the printing, the way it was burned and the size of the image itself. Whilst I did not achieve Simoes' exact effect I think the burning created a cut out section of the image which is perhaps a more blunt form of removing the memory associated with the image.
For most of my pictures I focused on burning the face of my model. In doing so the essence and emotion of the image can be mostly removed, however, some still remains from the positioning of the body.
By burning away part of the image one can remove a part of the memory that the image was taken to create, this helps erase the memory and disconnect the subjectivity of the image.
Lucas Simoes' burnt images produced red and orange colours where the fire had been present, whereas my images burnt straight through the paper. This is probably down to the quality of the printing, the way it was burned and the size of the image itself. Whilst I did not achieve Simoes' exact effect I think the burning created a cut out section of the image which is perhaps a more blunt form of removing the memory associated with the image.
Mock Exam
The theme for my mock exam was natural abstraction as inspired by my first strand Daniel Sroka.
Below are some of the examples of Sroka's work, in particular his leaf photographs. As shown, his work is macro photography of natural objects such as leaves which are so close up to alter the focus of the image and create an abstract image.
Below are some of the examples of Sroka's work, in particular his leaf photographs. As shown, his work is macro photography of natural objects such as leaves which are so close up to alter the focus of the image and create an abstract image.
My Development of Sroka's work
I then went on to develop this idea by creating leaf skeletons from leaves that I had collected with the idea to make photograms.
How I Made The Leaf Skeletons
Prior to the exam I had to make my skeletons by the following method:-
- Boil 2Litres of water in a pan with 20 teaspoons of bicarbonate of soda
- Once boiled, I added the leaves into the water
- I stirred regularly and let the leaves boil for 2 hours
- I then removed the leaves and placed them in a shallow tray of cool water
- I used a toothbrush to remove each layer of leaf until only the skeleton remained
Below are the images of my final skeletons
I then went on to develop this idea by creating leaf skeletons from leaves that I had collected with the idea to make photograms.
How I Made The Leaf Skeletons
Prior to the exam I had to make my skeletons by the following method:-
- Boil 2Litres of water in a pan with 20 teaspoons of bicarbonate of soda
- Once boiled, I added the leaves into the water
- I stirred regularly and let the leaves boil for 2 hours
- I then removed the leaves and placed them in a shallow tray of cool water
- I used a toothbrush to remove each layer of leaf until only the skeleton remained
Below are the images of my final skeletons
Exam work
During the exam I used the dark room to make, develop and process my photograms. I created a test strip to determine the best number of seconds to expose my photograms to; this was 1.5 seconds.
My first set of photograms were me experimenting with composure of the leaf skeletons. I worked with layering, lining up and scattering the leaf skeletons onto the paper to create a variety of effects.
The first image is two layered ivy leaf skeletons, one smaller than the other with created a nice layering effect and the extra layer meant the photographic paper was less exposed to light and therefore came out lighter.
My last two images were scattered leaves with little composition idea than covering the paper as much as possible for a busy effect.
My first set of photograms were me experimenting with composure of the leaf skeletons. I worked with layering, lining up and scattering the leaf skeletons onto the paper to create a variety of effects.
The first image is two layered ivy leaf skeletons, one smaller than the other with created a nice layering effect and the extra layer meant the photographic paper was less exposed to light and therefore came out lighter.
My last two images were scattered leaves with little composition idea than covering the paper as much as possible for a busy effect.
My second set of photograms worked with double exposure techniques whereby the exposure time is halved (0.75seconds) but exposed twice with different arrangement of leaves. The result is that the leaf skeletons are less clear as light has been both exposed and blocked by the temporary leaf position. It can create a somewhat ghostly effect as the skeletons are barely seen.
For my third set of photograms I wanted to attempt to create an sense of movement by conveying wind through my image. To do this I used cling-film which blocked the light in a slight way to create a smokey effect which allowed me to portray wind and movement in my image.
Below are the same images edited in photoshop by adjusting brightness, contrast and levels.
(Click for enlarged image)
(Click for enlarged image)
Final Piece
For my final piece I am going to mount my images on a board and ensure the placement shows the progression of the cling-film smoke throughout each image to create an overall image of a windy, atmospheric scene.
I was inspired by Daniel Sroka's work and wanted to put my own twist to it. Photograms are very abstract forms of photography in both production and product and therefore add depth to Sroka's idea of natural abstraction. The leaf skeletons add an intricate detail to the natural abstraction that Sroka's macro photography could not quite capture. Photograms allow the exact lacing detail of the skeleton to be observed and movement through cling-film blocking light can be experimented with.
I have purposely laid out my final piece so that the smoke effect has a source (the middle image) which spills out in four directions as demonstrated by the four other images. This presents an explosion of leaves but the nature of the smoke effect is soft and so conveys a slow and mellow movement. It juxtaposes both the essence of thrill and serendipity.
I was inspired by Daniel Sroka's work and wanted to put my own twist to it. Photograms are very abstract forms of photography in both production and product and therefore add depth to Sroka's idea of natural abstraction. The leaf skeletons add an intricate detail to the natural abstraction that Sroka's macro photography could not quite capture. Photograms allow the exact lacing detail of the skeleton to be observed and movement through cling-film blocking light can be experimented with.
I have purposely laid out my final piece so that the smoke effect has a source (the middle image) which spills out in four directions as demonstrated by the four other images. This presents an explosion of leaves but the nature of the smoke effect is soft and so conveys a slow and mellow movement. It juxtaposes both the essence of thrill and serendipity.
Development based on Artist Work
I was inspired by Dan Tobin's use of chalk to create smoke in his photography as shown in the left video below. He used this movement in his images and I wanted to recreate that in the dark room. In order to do so I used cling-film which blocked the light just enough to create the effect of smoke; the layered areas of cling-film imposed a greater smoke thickness.