My definition of abstract:
I believe abstract is somewhat a thing which the eye and mind can not make sense of or understand.
Abstract definition:
Relating to or denoting art that does not attempt to represent external reality, but rather seeks to achieve its effect using shapes, colours, and textures.
Abstraction definition:
The process of considering something independently of its associations or attributes.
I believe abstract is somewhat a thing which the eye and mind can not make sense of or understand.
Abstract definition:
Relating to or denoting art that does not attempt to represent external reality, but rather seeks to achieve its effect using shapes, colours, and textures.
Abstraction definition:
The process of considering something independently of its associations or attributes.
Before leaving school for the Summer holidays, Sir set us a homework. The homework was to independently take as many abstract (or what we consider to be abstract) photographs as we can.
For our single period, we were set the task to leave the lesson and photograph twenty things around school which we considered as abstract.
WWW:
I believe that this photograph Is not abstract in any way, it is out focus and the subject of the photograph is plain and bland. EBI: This photograph could have been better if I focused on one area of this frame and I could have made the contrast darker. In my opinion, this is the worst photograph I took in the set. |
WWW:
In my opinion, this photograph is the most abstract photograph out of the set. EBI: I could have zoomed in a bit more to make the subject a bit unusual to emphasise the composition. |
History of 'abstract':
Abstract photography’s roots developed in the wake of scientific discoveries that allowed people to visually document information that isn’t normally perceptible with the human eye. Scientists like John William Draper and Anna Atkins used unusual methods to produce images that were wholly unlike their origins.
Atkins made some interesting images by placing organic material such as algae and plants onto photographic paper, creating photograms. Her images, while still retaining much of the characteristics of her subjects, appeared different from anything seen before.
Abstract photography’s roots developed in the wake of scientific discoveries that allowed people to visually document information that isn’t normally perceptible with the human eye. Scientists like John William Draper and Anna Atkins used unusual methods to produce images that were wholly unlike their origins.
Atkins made some interesting images by placing organic material such as algae and plants onto photographic paper, creating photograms. Her images, while still retaining much of the characteristics of her subjects, appeared different from anything seen before.
Famous abstract photographer: Susan Rankaitis
Susan Rankaitis is an American multimedia artist working primarily in painting, photography and drawing. Rankaitis was born in 1949 in Cambridge, Massachusetts. She began her career in the 1970s as an abstract painter. Visiting the Art Institute of Chicago. While in graduate school, she had a transformative encounter with the photograms of the artist László Moholy-Nagy (1895–1946), whose abstract works of the 1920s and 1940s she saw as "both painting and photography. Rankaitis began to develop her own experimental methods for producing abstract and conceptual artworks related both to painting and photography.
Rankaitis draws on science in her work—particularly ideas generated through research in the fields of biology and neuroscience and she collaborates regularly with scientists on interdisciplinary projects.
Susan Rankaitis is an American multimedia artist working primarily in painting, photography and drawing. Rankaitis was born in 1949 in Cambridge, Massachusetts. She began her career in the 1970s as an abstract painter. Visiting the Art Institute of Chicago. While in graduate school, she had a transformative encounter with the photograms of the artist László Moholy-Nagy (1895–1946), whose abstract works of the 1920s and 1940s she saw as "both painting and photography. Rankaitis began to develop her own experimental methods for producing abstract and conceptual artworks related both to painting and photography.
Rankaitis draws on science in her work—particularly ideas generated through research in the fields of biology and neuroscience and she collaborates regularly with scientists on interdisciplinary projects.
Her work which is currently situated in Robert Mann's Gallery:
Tate Modern Abstract photography exhibition:
Focus:
The whole subject is in focus. However, there is a slight softening of the focus towards the bottom of what appears to be the edge of a table top.
Light:
A triangular slash of bright sunlight appears in the middle of the image. This is accompanied by bands of light running diagonally across the upper portion of the image. These appear to be gaps in another object out of shot, a fence perhaps.
Line & Shape:
There are number of strong lines, mostly straight, although these are complemented by the sweeping curve of the main object which runs from the top right of the image to the bottom right. All of the lines have the geometric quality of man made objects.
Repetition:
The shafts of sunlight running across two surfaces create a dramatic rhythm. A number if straight parallel lines are repeated in the composition, like repeated notes or beats in a piece of music.
Space:
The space in the image appears quite shallow, tightly constrained by the cropping. We don't the whole of any of the objects and the photographer appears to have been quite close to the subject.
Texture: All of the objects in the image appear smooth. The drama comes from the jagged bursts of light across their surfaces.
Value/Tone:
The image contains a range of tones from very dark to very light. There are deep shadows but also mid tones. The photograph is monochrome but has a brownish tint, perhaps caused by the paper the artist has used.
The whole subject is in focus. However, there is a slight softening of the focus towards the bottom of what appears to be the edge of a table top.
Light:
A triangular slash of bright sunlight appears in the middle of the image. This is accompanied by bands of light running diagonally across the upper portion of the image. These appear to be gaps in another object out of shot, a fence perhaps.
Line & Shape:
There are number of strong lines, mostly straight, although these are complemented by the sweeping curve of the main object which runs from the top right of the image to the bottom right. All of the lines have the geometric quality of man made objects.
Repetition:
The shafts of sunlight running across two surfaces create a dramatic rhythm. A number if straight parallel lines are repeated in the composition, like repeated notes or beats in a piece of music.
Space:
The space in the image appears quite shallow, tightly constrained by the cropping. We don't the whole of any of the objects and the photographer appears to have been quite close to the subject.
Texture: All of the objects in the image appear smooth. The drama comes from the jagged bursts of light across their surfaces.
Value/Tone:
The image contains a range of tones from very dark to very light. There are deep shadows but also mid tones. The photograph is monochrome but has a brownish tint, perhaps caused by the paper the artist has used.
For this task, I focused on shape and line.
After doing research, I was left with 3 photobooks that have inspired me. Those being:
I've chosen these photobooks as inspiration because they include various shapes and colours which I could look back on and use in my own phonebook.
Definition of photogram:
A photogram is a photographic print made by laying objects onto photographic paper and exposing it to light.
A photogram is a photographic print made by laying objects onto photographic paper and exposing it to light.
Photogram book research:
The idea of photograms was thought of in the early 20th century, by this time photography was not only to reproduce reality for remembrance purposes but to see reality in a new and fictional way. So the idea of photograms was an exciting discovery for people looking to make art in a new and "easier" way.
The idea of photograms was thought of in the early 20th century, by this time photography was not only to reproduce reality for remembrance purposes but to see reality in a new and fictional way. So the idea of photograms was an exciting discovery for people looking to make art in a new and "easier" way.
Invention:
This process was discovered by William Henry Fox Talbot, an English inventor who was born in Dorset in 1800. Talbot, frustrated by his failed attempts to sketch scenery while at Lake Como in Italy in 1833, began work on inventing a device that could produce sketches automatically. An idea inspired by an optical device that was used to project images of its surroundings called the camera obscura, as well as his interest in light and chemistry. Talbot began by placing pressed leaves on paper that he had sensitised using salt and silver nitrate, which he then placed in the sun. This resulted in a white silhouette of the object(s) used and a darkened background. Talbot named this process photogenic drawing and presented it to the Royal Society in 1839.
This process was discovered by William Henry Fox Talbot, an English inventor who was born in Dorset in 1800. Talbot, frustrated by his failed attempts to sketch scenery while at Lake Como in Italy in 1833, began work on inventing a device that could produce sketches automatically. An idea inspired by an optical device that was used to project images of its surroundings called the camera obscura, as well as his interest in light and chemistry. Talbot began by placing pressed leaves on paper that he had sensitised using salt and silver nitrate, which he then placed in the sun. This resulted in a white silhouette of the object(s) used and a darkened background. Talbot named this process photogenic drawing and presented it to the Royal Society in 1839.
The photogram specialist- György Kepes was a Hungarian-born painter, photographer, designer, educator, and art theorist. After emigrating to the U.S. in 1937, he taught design at the New Bauhaus in Chicago.
György Kepes photograms have been put in more light as the Tate Modern put them in display.
The most famous photogram being:
His other photograms:
Processing Photographic Paper:
Step 1: Developer Place paper in the developer tray, gently tap edges with tongs to ensure paper is fully submerged, rock the edge of the tray to agitate the paper – to ensure there are no bubbles.Process for 60 seconds. Step 2: Stop Bath Carefully remove the paper from the developer using tongs, allow it to drip for 7 seconds. Place the paper in the stop bath tray, gently tap edges with tongs to ensure paper is fully submerged, rock the edge of the tray to agitate the paper – to ensure there are no bubbles. Process for 30 seconds. Step 3: Fixer Carefully remove the paper from the stop bath using tongs, allow it to drip for 7 seconds. Place the paper in the fixer tray, gently tap edges with tongs to ensure paper is fully submerged, rock the edge of the tray to agitate the paper – to ensure there are no bubbles.Process for 5 minutes. Step 4: Water Rinse Carefully remove the paper from the fixer using tongs, allow it to drip for 7 seconds. Place the paper in the water bath, gently tap edges with tongs to ensure paper is fully submerged. Allow running water to rinse the print for at least 5 minutes. |
For each individual photogram I used different techniques and completely different objects so I could explore various styles of photograms. For example, the photogram in the top left I used the splattering affect with the chemicals instead of dunking the photogram in the chemicals. Also when the photogram was being exposed, I moved it slightly to get the out of focus affect and I only exposed it for 8 seconds. For the bottom right photogram, I experimented with textures and translucent surfaces.
Chosen photogram:
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WWW: In my perspective, this photogram is ''perfect'' amount of abstract. I have chosen this photogram as my favourite because its contrast is intense and the mixture of words and shapes preserves the impelling rareness of this photogram. EBI: This photogram could be even better if I had the background be different shades of black not just plain, opaque black. |
I've used this image above and this photogram to create my photoshop experiment. I merged the two images together and put the duotone filter on, then I played with the colours and in chose pink and white to get the perfect colour combination.
When airdropping my photographs from my phone to my MacBook, I came across a problem. Some images downloaded as 'Heir' instead of 'JPEG', so I had to find a solution. With help, I found a helpful website which converted images from 'Heir' to 'JPEG'.
Before:
Finished product:
Harry Callahan:
Born: 22 October 1912, Detroit, Michigan, United States
Died: 15 March 1999, Atlanta, Georgia, United States
Multiple exposures and architecture:
From the towering buildings of Chicago and its urban inhabitants to grass and weeds in the snow, Harry Callahan (1912–1999) is regarded as one of the most influential figures in post-war photography, yet his work is little known in the UK.
Callahan’s photography is exploratory rather than evolutionary. He chose a subject, photographed it for awhile, left it, did other things, and then returned to it, usually from a changed perspective. Callahan mostly photographed nature, buildings and people. In 1948, for example, Callahan photographed plants in snow, responding to Adams’ demand for “something real.” Unhappy with his perfectly honorable print, he put it aside for a time, and then, in rebellion, printed the negative at high contrast to get a fresh image that hovers between figuration and abstraction, from that day on he photographed everything this this thrilling way. Callahan's favourite subject to photograph is his wife. He photographed her repeatedly, indoors and out, nude and clothed, over about 15 years. These images, whose true subject is married love, rank among the most moving photographs ever made. Seen outdoors, Eleanor is a small figure in a large empty landscape, either alone or with the Callahans’ daughter. She never smiles or postures, but is just there and he records her without comment. The nudes are intimate without being sexual. Callahan always respects Eleanor’s privacy. She is completely trusting, perfectly self-confident, and at peace. There is no way that such images could be made without a strong, enduring bond between photographer and subject.
Born: 22 October 1912, Detroit, Michigan, United States
Died: 15 March 1999, Atlanta, Georgia, United States
Multiple exposures and architecture:
From the towering buildings of Chicago and its urban inhabitants to grass and weeds in the snow, Harry Callahan (1912–1999) is regarded as one of the most influential figures in post-war photography, yet his work is little known in the UK.
Callahan’s photography is exploratory rather than evolutionary. He chose a subject, photographed it for awhile, left it, did other things, and then returned to it, usually from a changed perspective. Callahan mostly photographed nature, buildings and people. In 1948, for example, Callahan photographed plants in snow, responding to Adams’ demand for “something real.” Unhappy with his perfectly honorable print, he put it aside for a time, and then, in rebellion, printed the negative at high contrast to get a fresh image that hovers between figuration and abstraction, from that day on he photographed everything this this thrilling way. Callahan's favourite subject to photograph is his wife. He photographed her repeatedly, indoors and out, nude and clothed, over about 15 years. These images, whose true subject is married love, rank among the most moving photographs ever made. Seen outdoors, Eleanor is a small figure in a large empty landscape, either alone or with the Callahans’ daughter. She never smiles or postures, but is just there and he records her without comment. The nudes are intimate without being sexual. Callahan always respects Eleanor’s privacy. She is completely trusting, perfectly self-confident, and at peace. There is no way that such images could be made without a strong, enduring bond between photographer and subject.
“The difference between the casual impression and the intensified image is about as great as that separating the average business letter from a poem,” said Harry Callahan in 1964. “If you choose your subject selectively — intuitively — the camera can write poetry.”
I chose to research Harry Callahan as I was mostly fascinated and inspired by him. As i looked through all the artists on the list, his work stood out to me most because of his unusual angles and subjects. His images capture the world in an unreal way which changes the audiences view of reality which instantly attracted me.
Questions I would like to ask Harry Callahan:
Keywords: Focus, stability, reality, shapes, compositions, highlights and shadows
To understand Callahan's work fully, I will attempt to recreate his photographs. After observing his work, I have come up with instructions to try recreate his work:
1. Use any camera and take a photograph of any object or landscape.
2. Make sure the image is taken in black and white or monotone, or can be edited that way later on.
3. Light is important to recreate Callahan's photographs as highlights and shadows are key.
4. Take these photographs in day light.
Questions I would like to ask Harry Callahan:
- What camera did you use to take this photographs?
- If you had to choose one object or theme to photograph for the rest of your life, what would you choose?
- After taking your photographs, did you edit them in any way?
- Do you enjoy taking photographs of more abstract things or less abstract things?
- How was your work viewed at your time?
Keywords: Focus, stability, reality, shapes, compositions, highlights and shadows
To understand Callahan's work fully, I will attempt to recreate his photographs. After observing his work, I have come up with instructions to try recreate his work:
1. Use any camera and take a photograph of any object or landscape.
2. Make sure the image is taken in black and white or monotone, or can be edited that way later on.
3. Light is important to recreate Callahan's photographs as highlights and shadows are key.
4. Take these photographs in day light.
For our assessment we have been asked to research the game 'puzzled'em' and make our own version of this famous 1930's guessing game. We also have to make our own set of images which contain everyday objects photographed in a peculiar way which even makes it difficult to determine what object it is.
Puzzled'em is a vintage guessing game made in the 1930's to entertain parties, gatherings and simple everyday afternoons. The 24 cards were displayed in a grid on the wall then participators of the game are asked to look carefully at the cards, on each card there is a photograph of an everyday object photographed in an unusual angle. Players who identify the most objects 'correctly' are the winners. 1-24. cards; each printed with a black and white photograph showing an object taken from an unusual position.
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The 8th threshold concept ''Photographs have their own visual language and 'grammar''' is crucial for this task.
Our new challenge is to create our own version of 'puzzled'em' game with our own 20 interesting photographs. The first thing I had to decide was which 20 objects I should photograph, my second decision was wether I photoshop the objects onto a background or if I should photograph the objects on a plain background. I have decided to photograph everyday objects and photoshop them onto a plain white background, I have decide to use thick cardboard type material to print on and at the back of the card there will be a clue Incase the object is hard to diagnose.
Here are a few photographs:
Here are a few photographs:
Photoshopped:
Leiter was fascinated by abstract art, and, at the age of 23, he dropped out of theology school and enrolled in art school.Leiter’s early paintings are awash with colour, in the lineage of expressionists like Willem de Kooning or Franz Kline and impressionists like Pierre Bonnard and Édouard Vuillard. In his classes, he met the painter Richard Pousette -Dar who is an abstract expressionist who was on social terms with the photographer W Eugene Smith.The photography industry was not always kind to him, In the early 1980s, Leiter found it difficult to find work and he fell into debt, and had to sell-off the studio he had always used on Fifth Avenue. On November 26, 2013, at age 90, Leiter passed away, he was not well known beyond industry circles. He worked for fashion magazines such as Vogue and Elle and gained photojournalistic commissions throughout much of his life. To manipulate his personal photographs he used the smoke that snaked from the city’s pavements, or the steam that collects on the windows of a cafe, or the churned snow on the street.
What I most like about Leiters photographs is how candid each photograph is, he took photographs of life how it is; no one posing, not changing anything but finding the beauty in natural life.
Five characteristics which define Leiter's Photographs:
Reflecting:
Five characteristics which define Leiter's Photographs:
- Contrasting colours
- Depth of focus
- Cropping and framing
- Capturing movement not stillness
- Light, exposure
Reflecting:
We made our own paintings based of a chosen Saul leiter photograph to focus on the components which make his photographs special and individual.
WWW:
I believe that is is the least abstract photo I have taken in this set as it is quite clear what I have focused on and what is selected. EBI: This photo would be better if I maybe zoomed in or got closer to the pole to make it unclear what the overall shape is and would make the audience guess what it is I have photographed. |
WWW:
I think that this is the most abstract photo in the set as it focuses on the formal element, repetition. I usually don't focus on repetition so it was a good way to experiment with the formal elements. EBI: I could have focused more on the viewfinder to further obscure the selection. |
This threshold concept applies to this project as we select what we want to focus on with our DIY viewfinders.
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Nigel Henderson:
'Stressed Photograph' is a collection of photographs taken by Nigel Henderson from 1917 to 1985. His photography shines light on post war in East London. Henderson transformed his bathroom into a darkroom and that is where he experimented with photography techniques such as the 'stressed' technique which involves distorting- warping the image as if viewed in a 'distorted mirror'.
'Stressed Photograph' is a collection of photographs taken by Nigel Henderson from 1917 to 1985. His photography shines light on post war in East London. Henderson transformed his bathroom into a darkroom and that is where he experimented with photography techniques such as the 'stressed' technique which involves distorting- warping the image as if viewed in a 'distorted mirror'.
Line:
Line is known as the most important, influential formal element of photography. Lines are a good way to show diversity of a chosen landscape/portrait, they contain underlying meaning such as individual emotions, thin lines could suggest unstableness, vulnerability and weakness whereas thick lines could suggest domination, confidence and independence. Line's can frame an image as well as obscure it.
form:
Form shows the configuration of an object, it shows that they are three dimensional and it emphasises the depth. Form Is vital to present meaning and context.
shape:
Shape is manifested in everything we see and touch, shape lets the mind identify each object and create understanding. The object has to have lighting from the back or front be identifiable, the most profound shapes are backlit.
colour:
Colours can put a photograph together or completely ruin it, they represent different moods. Bold colours such as neons, jungle colours and pastels suggest energetic, positive sometimes even overwhelming vibes
Texture:
Pattern:
Line is known as the most important, influential formal element of photography. Lines are a good way to show diversity of a chosen landscape/portrait, they contain underlying meaning such as individual emotions, thin lines could suggest unstableness, vulnerability and weakness whereas thick lines could suggest domination, confidence and independence. Line's can frame an image as well as obscure it.
form:
Form shows the configuration of an object, it shows that they are three dimensional and it emphasises the depth. Form Is vital to present meaning and context.
shape:
Shape is manifested in everything we see and touch, shape lets the mind identify each object and create understanding. The object has to have lighting from the back or front be identifiable, the most profound shapes are backlit.
colour:
Colours can put a photograph together or completely ruin it, they represent different moods. Bold colours such as neons, jungle colours and pastels suggest energetic, positive sometimes even overwhelming vibes
Texture:
Pattern:
I took inspiration from a two photographers named Margaret Durow and Bridgette Bloom who I found on an account called 'Vice Magazine' on Pinterest. I was instantly attracted to the transitions of the colours and shapes, I knew that their work merged together had inspired me for this assessment and for long term. They have similar
To create my final piece I have experimented with different materials and ideas. My first idea being a large board consisting of a large range of photoshopped images however and I did not persist with this idea as it was popular with my class so I decided I needed to switch my whole thinking around and create something more personal to myself. This change of thought led me to decide on creating a pair of photoshopped images which have been refined with physical change such as cutting up the images and placing them in a peculiar order, yet this idea did not have the outcome I had thought of initially so once again I had to change my final outcome. The images above are of the final piece/s, to create them i chose three of my abstractions images and merged them all in one on photoshop, the three images were taken on a train while it was moving so the images are telling a story which is personal to me- my journey home from school everyday. The images are taken 3 seconds after each other so if you look closely you can see a story progressing at each point of the images, also if you look even closer you will realise both images are the same but one is inverted this however was not my final idea but I liked the overall look of both the inverted image and not the inverted image so I decide to use both them; even so, this outcome was not enough and I decided to further obscure them with writing. To link back to the main assessment- formal elements, I decide to write all the elements present in the images, line, form, shape and colour. The other image is obscured by doodling and refining a large present element which is shape, I went over the most prominent shapes with black pen. I have stepped out of my comfort zone and I have made spontaneous decisions to test my creativity on this outcome. Overall, I am pleased with my final pieces but to improve it I could have made the writing neater.