ICM is intentional camera movement. This can create a watery or blurred value to an image. it is created by movement of the camera in a single sharp movement in any direction up and down can elongate the look of the object and by moving it 90 degrees to create a spiral. The movement of the colour's forwards movement in the picture and although the subject is blurred it should still be identifiable to add to the effect of deteriorating an object to make it less like its natural form which means it's an abstract technique creating an abstraction in my photography. It can also create a painted effect to a picture because of the movement replicating that of a painting.
To make this shoot I used a plain white piece of paper for the background to contrast with the variety of pinks, greens and whites of the flowers and its leaves. I created the floral arrangement so there wasn't too much of the same colour blending together and I could still have a focus. It also helped me control what directions I was going with my DSLR camera on sp/s mode set to 1" or higher so I could blend and blur all the colours together and not just one of them. I didn't use I tripod I hovered over the flowers so that I could have more natural movement, but this made it tricky to get the whole subject in the image and not just a section. I used my camera and lens and the natural light in the classroom. My strengths in this shoot were creating different kinds of movement and blurring but not blending the colours together too much, I especially like the bottom row middle because it has a wavy effect but also looks a bit like crumpled up paper, I really like how its movement is so different to the results of the others. I also liked how in most pictures you can still see a main focus and not just a blurry spot. Some of the limitations of this shoot is that it was hard not to drift off from the subject when moving the camera so it's just in the corner and some were just completely white paper. The circling motion was the hardest to create because of the restriction of being able to move my hand quickly in a whirlpool rotation and the other restriction of wandering of from the subject which is why I preferred the outcome of my other motions. |
Monochromatic photography is tacking images in the black and white scale/ only one colour and its shades. It can draw attention to small details that in colour would have been ignored. To create this effect, I used my camera like normal but with the picture style set to monochromatic. The shade and amount of detail can be changed by the amount of light being let into the camera or being represented in the imagery like shadowing or light rays. This is an abstracts technique because the aspect of colour was modified so the subject is less recognisable, but this example of technique is not too far abstract because it is not completely steering of from its natural form.
To make this shoot I used my DSLR camera and zoomed into the plants or got really close to them at eye level and close up. I used plants and leaves in the bush of the school car park. The lighting is the natural lighting because this shoot was outside, and it was quite a bright day. I put my camera along the top of the longer leaves and followed it down with the angle of my camera to create a shallow depth of field and mainly focused on lines or dots of withering on the leaves to create a high contrast of dark and light. I also used shadowing to create section of light or shadow on the leaves. I could also use the sky and higher up plants to create this same contrast. I also focused on one part of the leaf as a main subject creating a blurred and busy effect on the background. My strengths during this shoot were finding details that I found visually pleasing and zooming in on smaller details of the section of plant that I chose and am very pleased with the outcome of my final 9. Some limitations of this shoot were that sometimes they were blurry because I had to take them through the screen, so it was harder to know if it was right. It also sometimes let in too much light or too little to make it over or underexposed. It was also harder to autofocus on the plants because I was so close and needed the light to highlight the focus and what I wanted to zoom in on and I had to be careful with my camera not to hit the lens with the leaves or sticks from the bush. |
I have chosen this image because it shows lots of different elements and techniques. There is a good contrast between light and dark with the line of lighting and the darkness of the shadows in the background. there is also lining shown on the leaves directing the viewer and, in the lighting, creating arches of line spraying across the leaves. There is also shallow depth of field at the end of the leaf which is guiding the viewer but not into complete darkness, there is some specks of light reflecting on the things at the end, but it isn't comprehendible.
When editing this image using pixlr E, I increased the white levels to further highlight the light but then adjusted the highlighting/shadowing together so that the contrast is still there, but you can see further beyond the focus. I used auto pop to make the focus and the shadowing sharper. Finally, I cropped out some of the plants at the front of the left and right side and toward the back of the framing so that the subject was more central, and the image wasn't too busy and distracting. Some strengths of the technique shown in this is that it creates patterns within the subject that are more noticeable that it would have been with colour and allows there to be two different focuses, the lining of the plants and the highlighting of the lighting. This is shown in the pictures from editing underneath the main image. the first is the original image and what a cropped, the second is the direction if light (in yellow) and direction of the subject (in red). |
I have chosen this image because of its unique patterns and combination of different lines and shapes to create the pattern on a single section of natural form. I also like how the line of light is only on one section of the leaf which seems to spread along the lines and as its filtered out by the darker spots on the leaf it creates more of a glittery effect further down. The light also highlights the bend in the subject beyond what the camera can see.
To edit this image using pixlr E, I cropped the original to cut out extra darkness in the back that had no additional effect, it also helped focus more on the subject and be able to see more of the texture on it than if it was further away. I used auto pop to, again, make the texture clearer and it also made the light spread more along the lines. Finally, I increased the highlighting/shadowing ratio so that you could see more of the plant and its background that was before shadowed instead of only the part covered in light. The technique showed success in this image to create more patterns with the different shades of black and nicely distributed the light, highlighting it where you wouldn't normally notice it and further contrasting with the darkest spots of the leaf. This is shown in the pictures from editing underneath the main image. The first is the original image marked out with where I cropped, and the star is the overexposed section that I needed to lower through highlighting. The second uses a grid to show the distribution of pattern and lighting around the centred and focused section and how the increased size from the cropping helped enlarge the direct the viewer to the texture. |
I have chosen this image because of the amount of visible texture and the shape formed by the light and shadowing which contrasts the background. I also like the lining on the form itself that helps centre the focal point overall and divide with the rule of thirds although it's not completely evenly divided there is enough coming out from the middle to make it work with the rule of the division. The shape and direction of the lighting helps direct the eye to the main focus and towards the front of the subject.
To edit this image using pixlr E, I turned up the white levelling to brighten it up and create more emphasis on the texture and the lighting and to add light spots in the background to try and highlight and existing form to create a smaller busy environment behind the main focus. I also cropped the image so that the section of texture that wasn't blurred didn't take up too much of the photo to make sure that the actual texture wasn't ignored and because some of the bordering part of the plant was blurred. The technique showed success in this image by highlighting texture because of the faded black and white scale used in the colouring and exaggerating the contrast between light and dark. This is shown in the pictures from editing underneath the main image. The first shows the extreme contrast between the highlighting and shadowing that I needed to change through increasing the white levelling and decreasing the dark levelling, this also helped focus the texture. The second shows the lining created by the subject (in yellow) and the lighting (in red). |
I have chosen this image because although the contrast of dark and light aren't very strong, but it shows line and form in the subject which takes up most of the framing but there is still lots going on in the background giving the focus solemnity and further highlights them giving it shallow depth. I also like how it has natural highlighting and shadowing in the form rather than being created by lighting and the black helps exaggerate this range of colours even though it uses no colour at all.
To edit this image using pixlr E, I firstly cropped it so that the focus and more texture was mainly visible, and you can see clearly was larger and more central because some of it at the bottom was too blurred and taking away from what the focal point. Also, so that it wasn't too crowded with there already being two main, larger subjects rather than one. Then I increased the white levels and adjusted the highlight to shadow ratio because some sections of the back seemed overexposed, and I didn't want it to be distracting. It also helped lower the already small contrast between darks and lights on the subjects because I didn't want to focus on the light colours but the lining and dotting of the darkest sections. The technique showed success in this image by emphasising the shapes and lines created on the subjects which so highly contrast its neighbour, it also helped make patterns behind more visible in the form. This is shown in the pictures from editing underneath the main image. The first shows the original image followed by the cropping on the second. The third how the lining and pattern created by contrast of colour on the subject (in red) and the centred directing of the subject creating equality and harmony throughout patterns (in purple). |
Shallow depth of field is the visual distance between a subject and another. It can be created by focusing on one object and blurring out the rest to create a short distance between the viewer and the main focus and expand the distance between the main focus and its background. It can also be created by following a line to lead towards a focus or elongate it therefor widening the image as well and creating depth. It is created by increasing the aperture or lowering the f stop. This is a lesser example of an abstract technique because the environment is modified so the subject is less recognisable but because of my specific subject it is still very obvious of what the environment and focus is.
To create this image, I used my DLSR camera on aperture priority with an f stop of 5 and set the white balance to cloudy because I took them outside in my garden on a cloudy day. I zoomed into the subjects to make the background blurry creating the shallow depth of field and made sure most my pictures were taken surrounding other plants to create a greener background with more nature other than a fence. Near the end, even though it was raining, I threw water on some of the plants to add to the detail. I tried to get different angles and follow any lines on the plant to create more depth. I got to eye level for close ups and ariel to create a subject in the middle. Some strengths of this shoot were that it was quite an easy technique to use overall, I just had to find a subject and get as close as I could to blur the background and, in the end, I found enough subjects to have a variety. There were also some limitations of this shoot such as the weather. as I said, whenever I went out it started raining and when it wasn't it was still cloudy, but I just went out after it started raining and used my cameras abilities to change the lens to adapt to the little amount of light there was because of the clouds. Additionally, because this shoot was taken at the end of October most colourful plants or any plants were dead but I did find one bit of colour but there is a large number of greens which doesn't matter because it's still nature and I did end up finding different shapes and sizes of plant so it's not all doubles. |
"My own eyes are no more than scouts on a preliminary search, for the camera's eye may entirely change my idea." - Edward Weston
Why this quote?
I chose this quote because i think it really goes with the header of abstract nature because he was able to create art out of what most people just see as plain background items. It also highlights how it is abstract photography, with cameras being a fairly recent thing overall and his ability to teach himself how to work it and use it in a way that he liked with an appreciation for his work. It typifies Weston's work because it glorifies the power of the camera and how it can capture something you might notice and like on passing but the camera can take that and let you see what you could have once missed. |
Why this artist?
To begin my Abstract Nature artist investigations, I will initially study the work of Edward Weston because he used the abstract technique of his time, black and white, and every image of his is precisely and carefully made and thought about before taking it and afterwards when creating the physical copy. Who is he? Edward Weston was born in 1886 in Illinois and is known for his unique subjects showing texture and tones of everyday foods or plants alongside his landscapes and natural forms that people of his time had rarely seen before. His most famous pictures are his still-lives of peppers formed by a faze of shadowing and highlighting. Why this video? This video was inspirational to me because although the focus is abstract nature it showed the other forms that Weston captures furthering his ability of what he can create as beautiful. It highlights his flexibility as an artist and once again how it sets his apart from photographers at the time who were constantly searching for something worthy to capture while missing out on the things that Weston noticed and portrayed in his photography. This can be shown within his abstract vegetables but also within his simple landscapes which this video also presents rather than just the vegetables in which I'm studying. |
SubjectThe photographer of this image is called Edward Weston. The title of this photography is pepper No.30 and was created back in 1930 and is one of his most famous pieces of work. It displays a green pepper but is taken in a rich colour scale of black to white to present highlighting, shadowing and point out its curves and shape. The genre of this photograph is still life because the subject is solitary and there is no movement within the focus or in its environment. This simple type of photography was not seen at the time which sets him apart from the other photographers of his generations and why we still study him today. It is also abstract, using the abstract technique of black and white and is taken in portrait to extend and enlarge the subject. The props I can see in the image is a single lone pepper that we are told is green, but it is not presented as it in the image so that other elements are shown of the pepper which would not normally be seen.
ElementThe composition of the photo shows the pepper taking up the whole foreground with a small about of darkness and highlighting in the background to point out the physicality of the subject and to give it form. The rule of thirds shows the large
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field. It also helps eliminate any extra background that is unnecessary and distracting which is also a reason it is taken in portrait. The photographer employs a wide range of visual elements in his work that all combine together to support and emphasise each other, the most striking elements are form, colour and tone, texture and space. The form in this image is shown through the actual physicality of the subject in which the photographer emphasises through shadowing and highlighting in the subject and its environment. This reflects back on his reason for the shoot by taking mundane objects and simply putting them under a light, the form helps to remind the viewer of this. Another element prominent in this image is the colour or lack thereof. instead, this image uses tones and shades of black to white which is shown in the colour pallet. The use of the monochromatic technique is well portrayed because although originally a green pepper, the use of black and white helps to focus the texture and shaping of the subject instead of things such a colour that are normally highlighted in such photography rather than the form that he is able to create with lighting. It also helps signify the colour contrast within the image of the subject and its environment which is also what supports the form of this image and isolates the elements rather than the blinding, unignorable colour of the pepper. Additionally, a mix of black to grey colours are used underneath the subject, on the bottom of the image, to add detail to the outcome and give it a dusty, drawing
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placed in the foreground, by doing this the viewers eyes are led directly to the pepper and because it takes up most of the frame, there isn't anything in the background to distract from the focus. The foreground it used to create form on the subject with shadowing and highlighting. It creates lining, directing the viewers eyes to the pepper so there is no other focal point. This is also created by the short distance of the photo being taken and the eyes view angle because there is no blurring on the actual pepper to draw away from the entire object. This photo had been taken in a studio using artificial light and light subjection in a dark room using selected exposure by dodging and burning to create the images light and dark spots. The light source is placed on the top and from the bottom left, so as to get light on all of the curves but they must be weak lights because there is still a darkness in the middle. On the other hand, that could be created by a natural deepening of shade on the pepper. This is highlighting the curves and creating shadows, but the natural form of the pepper helps as well to darken sections that are further in or out and create a line distinguishing the end of the pepper and the start of the background. This creates an atmosphere because the light is what reveals to the viewer the hidden beauties of the subject and lightens the whole image whilst also darkening sections that are
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unwanted by the photographer or are there to assist the highlighting. It also creates the grey tones that creates the colour pallet, which is extensive because of how the editing process works to create a natural , slow change of colour in which creates the shades and tones despite my much smaller scale, or else the image would just be an extremely underexposed blob of darkness like any image without light but because there is not coloured to bring light it depends on the actual light to portray the blacks and whites and a sense of serenity in the harmony between the shades and tones. It also creates clarity for the viewer on what they are supposed to be looking or searching for but still leaves an aspect and ambiguity with the variety of sections of the pepper and its background that can be looked further into. To emulate this photograph myself, I would use multiple light sources to have all aspects highlighted and would definitely take it portrait as to have a faire distribution of the pepper going out from the centre but also other focuses of the pepper in squares other than the centre at the top and the bottom and you can see in the edit of the image on the rule of thirds on the right. Additionally, I would also need to reasearch how Weston personally set up his
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IntentI feel this image coveys a message of beauty in the simplicity of life that goes unignored in everyday life and by isolating the pepper, a vegetable seen and consumed all over the world, by people alike and reflect a message on how life goes by, but we don't stop to appreciate the small things and most people are inclined to keep waiting for something big and mind blowing to
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come along when the whole time it was right under your nose and you.ve already missed it but if you fix on it, it can be portrayed as a vastly different object, or abstract object as Weston was able to do greatly and much ahead of his time. He does this with his use of the monochromatic effect as a metaphor to life. It proved that he wanted to focus on the shape and form of the subject rather than its colour which would usually be highlighted therefor distracting from the other
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elements that are usually ignored by the naked eye really proving the purpose of photography for Weston and for many other photographers. The use of distorted subjects also suggests that even though they don't look like the average pepper, fir them to go to waste is a missed opportunity that Weston takes the chance of what he knows society will do and disregard the odd-looking food that he is able to them take and take advantage of to portray it as something different. It also creates an initial perspective for the viewer to lead on from and it is
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Low key photography is dark coloured scenes that use eliminating and highlighting to present a main contrasting form with no environment. It is mostly created with editing to darken areas that are not wanted to be visible and to lighten the subject, bringing it forward and giving the image form. They are also often taken in black and white to further deepen the contrast of the environment and the focus to point out its texture or patterns. It is a very difficult technique in photography because it can be difficult to separate and isolate the light and the shadowing. It is created with a low f/number and a high shutter speed to let in as much light while also being able to capture only the subject, so having so little light in the background that it isn't visible for distraction, but that part is mostly used during editing whether that's by hand as they would have originally or on software because it is so difficult to do both things at the same time.
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The inspiration for this shoot is Edward Weston because he took pictures of objects that had become mundane and every day and capture their textures and dimension while others felt the need to find something show stopping but missed what Weston had the eye to find and contort so it was mostly unseen at the time. I think that he despite his time is a modern artist because he could create picturesque images of background objects such as distorted fruit.
This shoot will be taken in the classroom in the morning with a mixture of ambient and natural lighting from the windows. I will need to take into consideration how bright it might actually be in the morning because its winter and I would like to create deep shadowing among my subject so ill have to not allow to much light to be reflected onto it but also highlighting the focuses curves or malformations. The props I will use in this shoot are a plant pot and a variety of texture fruit and vegetables to emulate the product of Edward Weston as the centre of this investigation and add detail in my product . The plant pot will create shadowing along the frame of the image and darken its environment by having no subject further away to focus on or distract from the larger subject to isolate it and help zoom in on its texture and patterns. This will also be helped by the plant pot because it will centre and direct the light onto the subject rather than its environment. You can also create further texture within the image by scratching the bottom of the plant pot giving the subject form and lining whilst also giving it a |
I chose this image because of its sharp resemblance in subject to Ed Weston's pepper no. 30. This was intended as an emulation of his most famous work and I think it was executed the best to my ability's. The strengths in this image are the distribution of high resolution texture with there being more on the pepper and where the light is directed so that the focus can be brought to the warping of the pepper (also picked out specifically to mirror Weston's taste) and creating a fisheye effect because it bring the centre closer and the edges seem further away. This also blurs the environment and background of the pepper as not to distract from the pepper and create a contrast of interest throughout the image. But I have also, however, used the background to create dimension and that dust like, picturesque detail that Weston's also contained. It also helps faintly distribute light to make the contrast smoother and less hard or rough. Additionally, it pulls the viewer from the abstraction of the picture, reminding them of its physical form and sense that is meant to an opposition to the overall image.
The editing process of this image is detailed above, I used a variety of editing techniques on Pixlr E to change the contrast and brightness of the image that allowed it the have less noise. I also auto popped to make it appear clearer and sharped some of the small details. The hardest part of the editing process was getting rid of large light spots created by the props I needed for this shoot. Because of the contrast with the darkness contained in the image and fading of colours that surround the subject going outward, it was a struggle to blend it or decrease its darkness without making it look artificial or unnatural so I did |
I chose this image because there is a very clear fade between light and dark that is visible by being portrayed on the actual subject entirely without needed the use of a background. I also love the subject entirely because it is still a vegetable but I've never seen one before and still don't know what it actually is. It also has an amazing amount of irregular detail making it look messy but the lighting gives it form which separates the messy sections to make them clearer. Additionally, the amount of texture automatically intrigues the viewer in the form of lining, patterns and shapes upon the texture. There is also a clear central of the image that creates a spiralled detail, subject and light throughout.
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I chose this image because of the softness of the texture that makes the image look clearer and cleaner. It also mainly uses lining as a pattern which can be followed throughout assisted by the light. There is also an of centre focus, being the biggest line of the lettuce that goes along the right side annunciating the 3 dimensional reminder of the form. And finally, the lighting direction follows the focus but is illustrated in the entire image as it is quite bright overall. These all join together to create harmony and large contrast in the image like a portrait on someone good side. There is also an attempt to add detail in the water that can be seen in some of the pits created by the walls of the lettuce but although it wasn't what I initially intended, it creates a glossy effect of certain parts , mainly the light centres, of the subject that is a textual contrast from the matte, sombre effect on the shadowing or darkest sections.
To edit this image on Pixlr E, I firstly cropped out the pot and window that was in the frame so that it could solely focus on the subject at hand rather than its environment, it also made details of the background that were in the crop, which I then |
I chose this image because there is a clear angle of how the image was taken and the way the subject was positioned that fits in different sections of the onion. I also like the obviously brighter-darker split through the centre of the image and the biggest contrast between not the subject and its background but the subject entirely. There are also very small sections of the subject that make it delicately broken up and imperfect and there is again an off centred focus upon the subject that creates a spiralling, this time being just above where the central square would be. Additionally, the different points created by the textures add to the elements and creates of variety of points in lining, and shape that directs to another section which is what forms it harmony and pulls it together. Furthermore, its adds abstraction to the subject which is a main element that was intended for this shoot entirely.
To edit this image using Pixlr E, I cropped out a lot of the background which was needed because it was taken from quite |
Who was Anna Atkins?Anna Atkins was a 19th century photographer and botanist and creates cyanotypes of natural forms to create an image and was also known for being the first person to published an illustrated book with photographic images and one of the first female photographers to exist but for many years her cyanotype prints were not credited to her.
What is a Cyanotype?Cyanotypes were one of the first printing technique in photography being 170 years old and is created by using light sensitive chemicals and sun or UV light to print a greenish blue copy of whatever is blocking the light in Atkins case it was her plants they reverse light and dark to create an opposing contrast. It is a unique technique that switches the positive and a negative, creating and abstract outcome.
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I have chosen this image because i like its comparison to the original work of Anna Atkins proving how her work was influential but is also carried out under new artists and techniques so can help us view the changes of technology over the years from then to now whilst using the same medium. I also think that overall it is composed beautifully because of the modernisation of it. For example, the physicality of the subject is visible through this image which wasn't clear in Atkins as the product was 2D.
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I have chosen this image because the use of cyanotypes is intertwined to create a display of 3D physicality from paper or photography. I like how it recreates something beautiful in real life and directly copies that, but also the use of the blue helps to give it colour and really show the lines and patterns, and to make it brighter overall in comparison to what it would have looked like using the modern technique of grey which would have make it bleak and add more negative intent and emotion.
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I have chosen this image because its use of different colours beside the original navy's and blue also helps prove the advancement of cyanotypes since the start but because it still contains the original colours that are the only pallet of the other examples, shows how the cyanotypes of the past are still not fully changeable and even with the possibility, by completely changing colour the original form and technique of cyanotypes would be lost as modernity pushes through discarding the past.
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Who was Man Ray?Man Ray was a visual artist who focused on surrealism who focused on surrealism and , he produced major works in a variety of media but considered himself a painter above all but he also worked with photograms, which he called "rayographs" named after himself.
What is a Photogram?A photogram is by definition a picture produced with photographic materials, such as light-sensitive paper, butwithout a camera. They are made by laying objects onto photographic paper and exposing it to light. Man Ray refined and personalised the technique to such an extent that the new prints eventually carried his version of the name. It creates an image through shadows or silhouettes where the objects have prevented light from reaching the surface of the paper. Areas of the paper that receive no light appear white, while areas exposed through transparent or semi-transparent objects appear grey.
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The unfamiliar and abstracted
Fashion photographer Horst P. Horst used rotational symmetry to create new patterns. His book, Patterns from Nature (1946), has inspired me to create my own series of rotational symmetry patterns using my work so far. Here are some of my examples: |
High key photography is a technique which creates an image which is bright and over exposed with little to no shadow. It uses primarily a light, white tonal range with either a dark or colourful subject to create contrast. It is a beneficial technique because it really zooms in on the texture and details of the focus because of all the lighting that is used and gives the image a unique look and can be used to convey a very happy feeling or upbeat mood. To create a high key image a strong remote flash power is suggested such as 1/8 because it is the main tool in forming this technique. To let in all the light, a high aperture is suggested (along f/16) paired with a high ISO (around 100) and a low yet powerful shutter speed (such as 1/50) to capture enough light and really over expose the image.
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"My botanical documents should contribute to restoring the link with nature. They should reawaken a sense of nature, point to its teeming richness of form, and prompt the viewer to observe for himself the surrounding plant world." - Karl Blossfeldt
Why this artist? I chose this artist because he uses the unique technical process of high key photography which s new to me so is nice to explore it. Specifically, Blossfeldt because it was his his main process which he perfected during his career and was also an early example of this process most being created in the late 19th century and the early 20th century. Additionally, he used natural forms, unusual, as his subject to combine with the technique to enhance its texture and shape, highlighting hidden parts of the subject which is further conveyed by the isolation of his form.
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Why this video?I chose this video because it goes over a variety of Karl Blossfeldt works so you can understand how he presented a lot of his work and the typical techniques which were focused in his works specifically high key and is explained by someone who knows what their talking about but can also create their own opinion. Additionally, it is also from a modern perspective and also of a fellow photographer rather than a critic or watcher so it trustworthy but also unique while giving room for another view.
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Who are they?Karl Blossfeldt is a German photographer and sculptor born 1865, died 1932, who focused on and was know for his precise, black and white, close-ups of natural forms such as unique flowers. A lot were published in the early 20th century (1929) as a part of 'Urformen der Kunst' (Uniforms of Art). As he lived during this time period, he wasn't trained in photography but rather started making his own cameras and fitting them with magnifying lenses.
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SubjectMy chosen photographer is Karl Blossfeld who specialises in high key photography with natural forms such as this with the extreme lighting and overexposure making it an abstract technique. The title of this photograph is Acanthus Mollis, named after the plant pictured in the image ad was created in 1928 in Berlin, Germany. The genre of this image is still life like most of Blossfeldt's work and has been taken portrait. It has a very simplistic, two-dimensional effect to it which adds abstraction to his work. The props I can see is a single, upright, centred Acanthus Mollis with the flowers taken off. Behind the scenes it has probably been taken using a very strong artificial light to really overexpose the image and get the high key effect of his work and he wouldn't of had a remote flash as we would use today because of his time period but it enunciates the intent and variety of elements in this singular image.
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The photographer uses a mixture of the 7 elements of art but dismisses some like to form to create a unique display of the subject and abstracting it so that its less recognisable than its original form which he also does by physically altering the Acanthus Mollis by taking of its flower and making it bear furthering the contrast to it original form and capturing only what he intends and wants so the image overall presents more harmoniously. A very important element he uses is colour, or its lack thereof. Although this was because of his technical block due to the time period, he adjusts his photography to fit with this and is able to gain control the outcome of his work distinguishing him as a photographer at the time. This works to his advantage because it helps to isolate the other elements in the subject such as line and texture despite its two-dimension. The black and white value adds contrast throughout the subject within itself and with its bright white background furthering the attention centred around the focus. The colour works together with line to create the effect of texture within the medium of a photograph. They direct toward the spikes of the flower with the lines directing toward it and the darkest sections being on the spikes while directly next to the background. This really emphasises the difference between its original forms and immediately points out how Blossfeldt had changed the subject as a main focus to easier the retrieval of his intent and show symmetry and similarity between
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either side of the centre of the image. Symmetry is also a key element in Blissfield's work and more importantly this image. I have added the main line of symmetry through the centre of the image in red, the centre of the Acanthus Mollis in blue and the centring of the top spike in yellow. Overall, they connect together pretty well especially the blue and red. However, the distortion in the lining at the top in the yellow ruins the perfection of the image in a silent way, conveying a message of perfection within natural forms and symmetry between two things, alike or different. Another element cleverly used is space, as shown on the left using the rule of thirds, I can see that the whole subject mainly withing all the middle sections. This elongates the subject fits it all into the frame without condensing it making the image too busy and messy as it would if it was cropped to fit only the form into the image. There is also three sections of the plant that go outward into further sections, correlating with the three downward sections. This evens out the image and gives reasoning for the framing while again improving symmetry in each section . However, when in a grid the differences are more visible but without it there the angle or size of the leaves are unnoticeable in comparison to each other. In my opinion, I think line is the strongest element in this piece if Blissfield's work because it helps create other elements which without line wouldn't be there and the colouring isn't as intentional and meaningful as line because there was no other option at the time and is real reflection of the original form and abstract form.
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The main focal point is the Acanthus Mollis which I know because it is the title of the image and it is the main and only subject of the image. Furthermore, most of Blossfeldts work is based on a natural form which is botanic in nature, so it fits with his style. That is also why the composition of the plant is placed in the foreground with the background being the plain white backdrop to contrast the subject by using high key photography as a technique. Blossfeldt did this because he wanted the single Acanthus Mollis to be the focus and with nothing to distract from it in the background it is the sole and only focus. If among other things it would be compared with them instead of taken as one of its own and the things he has altered to create intent and change would go unnoticed. I believe this photo has been taken in a studio using one or many strong, artificial lights because it is needed to create the high key effect that is used and especially to
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IntentI think the photo has a message which reflects on humanity or maybe even the photographer himself of hidden self and crooked perfection within all natural things. The first message of hidden self is lead on by the removal of the flowers on the original form of the Acanthus Mollis. This intentional change reveals and accentuates the spikes covering the flower which are usually hidden by colourful, soft petals. Even the contrast between petals and spikes hints at Blossfeldt's intent because if left on, it could completely change because of the juxtaposition of the two parts of the same object with the petal usually being the centre beauty of a flower but when that is stripped away this certain plant is left with rough, dangerous spikes. These are both singularly beautiful things to different perspectives but it can be compared to people and how we hide what we believe is ugly, so cover ourselves and hide are true person to fit in more with the people around us much as a group of Acanthus Mollises would all be clones of each other in a bunch but they all have the hidden spikes. This is further supported by the singularity which Blossfeldt uses by focusing on one plant, making it vulnerable by stripping of its cover and dressing it in blinding light to capture every part of it. This could also reflect Blossfeldt and how he uses his photography in a cathartic way to reveal and express himself in an interpretable medium. Another of my interpretation to this images is how the slight crooked perfection of the subject and its symmetry conveys a message of imperfection in all natural things especially people. The standing of the flower on slightly lags of the centre line of the image which initially fools the viewer to believing it is perfect but when you look closer the off balance is striking and ruins the symmetry of the image right at the top. The fact that the plant gets less symmetrical as it goes up with the idea that it is standing for itself presents a separate idea that the plant is slowly giving up on itself but to a passer by it will
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This shoot was inspired by the photographer Karl Blossfeldt as I have been studying the way he creates abstract forms from nature and I was keen to emulate his style because it contrasts work I have done before specifically the cyanotypes and uses techniques which are new to me which i wish to explore to expand my knowledge. The shoot will take place in my classroom, early morning because of the time of my lesson. Furthermore, because its winter there will not be the use of natural light because it too weak and even when strong would not be enough to create the high key technique which is needed during this emulation of Blossfeldt's work.
The props I'll use for this will be natural forms much like the kind that Blossfeldt would've chosen. I will also use different backdrop just like in the different shoot plans. One will be white paper, another a white backdrop and the last, a light Perspex diffuser. These will all make sure that the image comes out as bright white as it can and can hold as much light as possible. Because I am emulating high-key photography I will need strong lighting conditions. The shoots with the backdrop and diffuser used artificial light from multiple strong lights directed at different angles toward the subject whilst avoiding shadowing by making it straight on and if in angles having a light opposite which would cancel out the shadowing. The first shoots also uses a flash (remote flash) to push the light through the subject suddenly but very strongly. The third was done with natural day light through a window which will probably end up being the dimmest because of the time of day and year there isn't must natural light and if there is it isn't reliably strong, mixed with the indoor light of the classroom lights which also aren't as strong as the artificial lights used for the other shoots. I will be using a DSLR camera with a macro lens for the first shoot to zoom into the subject and collect all its textures, a DSLR camera with a prime 50mm lens for the second shoot put on a tripod to make it studier and make sure there is not camera movement in the final product, and my DLSR camera with 18-55mm lens for the third shoot to get a more raw, natural image. I will be taking them all in portrait to fit the |
Why this video?I chose theses videos because it displays different variety of Wojtkiewicz's work beside the abstract nature. It also displays a lot of his work so you can really get an understanding of his style, technique and elements which he continuously uses in most of his work revealing which sections are intended to fit the rest of his gallery. It can also be used in context of time periods to see the evolution and changes of his work throughout his career or life as an artist.
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"I use a Canon EOS 90D camera with a Canon EF 100mm f/2.8 Macro USM fixed lens. The only reason I even know about the technology is because my colleague told me that's what I needed and would be the biggest bang for the buck. The rest of it is all by feel. I have absolutely no photo training. For me that suffices because I'm not hung up on technical stuff. Just looking for ways to capture information for my paintings." - Dennis Wojtkiewicz Why this artist?Wojtkiewicz is a great artist to study because he has incredible composition in all of his images because of his use of backlighting and mostly at least semi-transparent subjects help portrays a vast amount of elements and principles. for example, the texture within his forms is highly prominent because they are so clear and visible within a natural pattern. He also has amazing harmony and unity between many different colours which help to blend and brighten the subject and further point out its natural form. Additionally, using colour he can create contrast between the subject and its environment or background and even within the subject itself. It also has an abstract take on symmetry because his work appears symmetrical but when you look closer it is actually unsymmetrical like any and most natural forms. All these things make his a good artist to study because its clear he knows what he wants to come out of his images and has perfected his technique to do so despite still being an artist and not a photographer.
Who is he?Dennis Wojtkiewicz is a polish artist from the US who focuses and is most known for his hyperrealisms of ,more specifically, fruit and flowers. At this time, he is 67, born in 1956, and he is involved in photography because before he makes his large scale paintings, he creates his own perfect reference image using his own camera and lighting and setting, so that he can get it exactly as he wants it with something to paint from exactly which hasn't been stolen from another artist or coming straight from his head, making his job as a painter much easier. Despite not being a trained photographer, he is able to take professional presenting photographs of his subjects using techniques such as backlighting.
Why this quote?I chose this quote because most of the time he is talking about his paintings but this zooms in on his photography which is vital to create such artwork and teaches how to emulate his photography in a way that it isn't a big ordeal because it isn't even his main for of medium, so is actually easily done if following his rules and capable of finding his perspective or just creating your own.
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Backlighting is by definition, when positioning the main source of light for a photograph behind the primary subject. This means the form is lit from the back and goes through the subject which is why mainly semi translucent subjects such as limes are used so the light can actually go through making the details of the inside visible like in most examples of Wojtkiewicz's work. This technique benefits well in photography because it allows to put a spotlight, literally, on the smallest details in a subject which aren't possible to see is the dark or even that well in natural lighting. It can help emphasis the depth behind or within the subject and can create a contrast between your subject and its
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Step 1 : Choose the right subject and cut thinly to let light through while thick enough to have visible detail.
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Step 2 : Setting up lighting from behind or below the subject and set the subject directly Infront or on top.
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Step 3 : Set up camera on tripod to reduce camera shake and change manual settings to suit your shoot.
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Step 4: connect manual shutter to your camera and take your images while adjusting set up throughout.
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My shoot is inspired by the works of Dennis Wojtkiewicz because his photography is only half of his art form but he provided dedication to how the outcome should look rather than editing it in his head as he works to emulate his photography. Despite this not being his profession, he is able to produce professional level abstract photography through simple technique. He also finds different angles of a singular fruit to get the highest detail and lighting in his photography.
I will do two versions of this shoot. The first will be in the classroom to control the lighting with the proper photography equipment. The second the will be in my kitchen because it his multiple strong ambient lights and overall is a light area. The props I'll be using will be a variety of citrus fruits such as lemons and limes with additional translucent fruits such |
Editing Step 1: Here, I have used adjustment tools on Pixlr E such as temperature and tint, hue and saturation, vibrance, and brightness and contrast to make the subject brighter and clearer to portray more of its deeper texture and detail while enhancing the colour and contrast of its natural form. I focus on brightening the skin of the fruit which I thought originally drained the image of its colour distracting from the centre.
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Editing Step 2: Next, I carefully used the lasso tool on magnetic mode to carve around the fruit and went on select, then invert selection to select only background which I then deleted. To create the white background, I added a new layer underneath the fruit and used the fill tool to completely turn it white. The I touched up the lasso, filling in the outlying sections from the original background white.
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Editing Step 3: After that, I unlocked the layer with my fruit on so that I could duplicate it to arrange into an irregular pattern. I was able to rotate the fruit and flip horizontal or vertical to contort it into a pattern in which each fruit didn't look identical. I tried to also add equal amount of distance between each fruit so that it wasn't cramped within the space, while helping to further the contrast how the colours I later changed some of my forms.
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Editing Step 4: Finally, I selected 3 random fruit within my pattern to turn black and white creating a contrast and emphasising the colour of my actual fruit. I did this using the adjustment auto black and white. Then I chose two random fruit to change a contrasting colour. I did this using the hue and saturation adjustment and chose colours which I thought would stand out and compliment the original fruit.
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