Download
1 / 33
330 likes | 490 Vues
Examining Photographs. Using any creative ways you want to present your book to the class. Your presentation should include but not be limited to the following: Use the language of photography presented in this Powerpoint . Discuss your decisions around the choice for various spreads.
E N D
Examining Photographs Using any creative ways you want to present your book to the class. Your presentation should include but not be limited to the following: Use the language of photography presented in this Powerpoint. Discuss your decisions around the choice for various spreads. Defend your choice of the cover and title – articulate why you chose the picture and text. If you use the words “I like” explain in depth why. Talk about the strengths of your book. Talk about the weaknesses of your book. Discuss the growth of your project articulating the ins and outs of certain decisions. Discuss if you have any aspirations for the future in photography even if it would be a hobby or avocation. Final Digital Image Management Book Presentation
The Two Layers of Information in a Photograph Medium Based Elements - Form • Form is the purely visual aspect of something, in fact of anything visual. Shape, tone, pattern, texture, size, lines, planes all make up a vocabulary of forms. Form is what the photograph is because you cannot sense a photograph without seeing it. While we can attempt to describe a photograph verbally, we must go to the source to sense it. We see form first and fact second. Linguistic Based Elements - Narrative • Narrative is a description of any kind. It is what the photograph is of. Usually this is what we refer to as the subject of a photograph whether it is a picture of a person, an event or a place. It is a certain kind of information that allows the photograph to tell a story. It is what happens outside of the frame. For the most part photographic expression is an interaction and resonance between form and narrative. Discuss the role of narrative in your photographs
Photographs with strong narrative Gregory Crewdson
Photographs with strong narrative Jeff Wall
Photographs with strong narrative NadavKander
Photographs that emphasize medium based elements Timothy O’Sullivan
Photographs that emphasize medium based elements Nicolas Huges
Photographs that emphasize medium based elements Harry Callahan
Lines as a unifying formal element Vertical lines can suggest dominance, power and growth. Horizontal lines can suggest peace, calmness and a sense of restfulness. Diagonal lines can suggest action, stimulation and depth. The use of diagonal lines can help draw the eye through the photograph. Curved lines or S curves suggest sensuality, elegance and a serene sense of balance When discussing your photographs consider what role line has in your photographs.
Pictures that are unified through the formal elements of line
In Lewis Baltz’s photographs lines are a unifying element and they work together to enhance the narrative
The Use of Shape and Volume as a Unifying Element Line and shape are closely related in photography. Most shapes require a line that outlines it’s contour. We often think of shape in two-dimensional terms but in photography, with the proper lighting shape can take on volume and mass. In photography we generally describe this as modeling with light. When discussing your photographs consider how you have used shape and volume.
This photograph by Aaron Siskind is a good example of how a shape can be represented in a two dimensional way. The plane of the photograph is straight on to the viewer. There is no volume or perspective in the picture because of the plane. Because the shapes in the picture are flat it does not mean that the photograph lacks spatial tension. The various shapes assume different places on the plane of the photograph and work together in the frame with the tones and values to be aesthetically pleasing. The shapes in the photograph are not modeled by light however and therefore depict no volume or mass.
This photograph by Carlotta Corpron, while as abstract as Aaron Siskind’s photograph, does show volume and mass. Because of the way the light is used (modeling) the form and mass takes on a three-dimensional quality. You can also see that line delineates the edges of the shapes in both Siskind’s and Corpron’s pictures.
Active and Passive FramingConsider how you have used either active or passive framing Using the frame is one of the most powerful tools a photographer has. What is happening inside the frame certainly is the catalyst for narrative, which we have defined as what is happening outside the frame. To further define this concept the photographer Stephen Shore proposes there are two ways in which to use the frame: active and passive. Edward Weston William Eggleston
Passive Framing Passive framing has a tranquil or casual feeling to it. The eye connects with the subject matter within the frame and works it’s way out to the edge of the frame. In both these images by William Eggleston the crop seems not to matter in terms of composition. One gets the feeling that the scene extends beyond the image and is not bound by the frame in an assertive way. The vital information is in the center of the photograph: the bike on the left and the man on the right. Essentially the edges are left open to suggest a world beyond the subject. William Eggleston William Eggleston
Active Framing The opposite of passive framing is active framing. Stephen Shore suggests that active framing is when the picture “begins with the frame and works inward.” In other words all form within the frame are resolved by the frame. Everything of importance is in the frame of the photograph and while we know the world exists beyond the frame it is little relevance because the photographer has composed the image in such a way as to make the relationship of the forms fixed and finite. Active framing is in some ways a more aggressive way to use the frame. It is a way in which the photographer can exert more control over the formal elements and exert energy into the narrative. Martin Parr Charles Scheeler
What is Positive and Negative Space Positive space is the "occupied" areas in a work of art that is filled with something such as, lines, colors and shapes. It is the primary subject matter of a painting; the animals, plants, building, mountain, vase, people, etc., that forms your area-of-interest. It dominates the eye and is the focal point in a composition. Negative space is the unoccupied areas that surround the subject matter. It is more passive in nature and is defined by the edges of the positive space it surrounds. It is what gives definition to our composition. Consider how you have used positive and negative space in your photographs.
Positive and Negative Space There are three principal compositional components to a photography image. Frame: The frame is the border that is all around the rest of the image. Positive Space: The subject of the image. This is generally the item on which the camera is focused. Negative Space: The rest of the image. It is located between the positive space and the frame. When many people go about composing an image, they concentrate their attention on the positive space. The negative space gets very little thought. If it receives any consideration at all, it is more of an afterthought. This kind of approach diminishes the chance for a compelling image. When correctly utilized, the negative space can serve two very important functions: 1. It can help in defining what the positive space is all about. Basically, it helps to tell the story of the positive space. 2. It can improve the positive space. Essentially, the negative space helps to make the positive space more noticeable.
Now, lets get on to why this matters and how it can change what your picture looks like. Basically, a larger aperture (lower f/number) will have your subject in focus, and everything in front of and behind it blurry. A smaller aperture will have your subject in focus and everything in front of and behind it quite focused as well. Take a look at the following diagram; the further apart the lines are, the more out of focus something is: We will call this “opening up” the aperture which means using selective focus
Small aperture or “stopped down” produces “hyperfocal distance” or excellent depth of field. The hyperfocal distance is the closest distance at which a lens can be focused while keeping objects at infinity acceptably sharp. When the lens is focused at this distance, all objects at distances from half of the hyperfocal distance out to infinity will be acceptably sharp. Consider how you have used selective focus or hyperfocal distance in your images
Metaphor • In expressive photography, we rely on visual symbols to represent abstract ideas. A symbol stands for something with a larger meaning. We may also call them metaphors. Some of the most famous photographs endure because of their symbolism. Dorothea Lange’s “Migrant Mother,” is an instantly recognized symbol of the great depression of the 1930s and the migrant experience.
Metaphor • Joe Rosenthal’s photograph of the American flag being raised during the battle of Iwo Jima is the definitive symbol of World War II. Images that offer multiple meanings will often challenge the imagination of viewers in unexpected and provocative ways. Any image that encourages thought, moves the emotions, or stimulates the imagination can be a valuable experience. It all depends on how the photographer has used symbolization and how the viewer understands those symbols.
Van Gogh - metaphors of his life metaphor |ˈmetəˌfôr; -fər|nouna figure of speech in which a word or phrase is applied to an object or action to which it is not literally applicable Consider if your pictures have metaphor and if so discuss it
Color in photography We have said previously there are two congruent languages in which photography speaks: form and narrative. Form is the visual fact we see such as shape, line, texture, tone, etc. Narrative is on the other hand “story telling”. It is that description that happens beyond the frame. Color adds another interrelated dimension to the concept of form and narrative. In the visual arts we refer to form and color separately as they are distinct entities. Since we have defined narrative as a description of any kind we can start to see that color adds another layer of information to assist both the form but more importantly the narrative. In these images by David Graham, color provides a vital conduit between the subjects and the TV set and in fact enhances the narrative. Consider how you have use color in your photographs.
Color and Symbolism Symbolism is an aspect of narrative because a symbol stands for or represents something. In the West, black is a sign of mourning; in many Eastern countries, white is a sign of mourning. We stop at red lights, go at green lights and proceed with caution at yellow lights. Color symbolism brings a specific layer of meaning to color that is not inherent in the color itself. These symbols can be associated with societal, cultural or often personal beliefs. David Graham - Eddie Pratt David Graham - Bob and Tim Grant
Color and Emotion There is no question that colors evoke different emotions. The way we see color is shaped by a variety of factors and the emotional impact of color is very subjective. Emotion has definite ties to the narrative content of a photograph. It can strengthen and add breadth to the story telling ability of a picture. Here are some colors and their perceived emotional value for your reference. Red: Positive: Sense of power, strength, action, passion, sexuality Negative: Anger, forcefulness, impulsiveness, impatience, intimidation, conquest, violence and revenge Yellow: Positive: Caution, brightness, intelligence, joy, organization, Spring time Negative: Criticism, laziness, or cynicism Blue: Positive: Tranquility, love, acceptance, patience, understanding, cooperation, comfort, loyalty and security Negative: Fear, coldness, passivity and depression Orange: Positive: Steadfastness, courage, confidence, friendliness, and cheerfulness, warmth, excitement and energy Negative: Ignorance, inferiority, sluggishness and superiority Purple: Positive: Royalty, sophistication, religion Negative: Bruised or foreboding Green: Positive: Money, health, food, nature, hope, growth, freshness, soothing, sharing, and responsiveness Negative: Envy, greed, constriction, guilt, jealousy and disorder Black:: Positive: Dramatic, classy, committed, serious Negative: Evil, death, ignorance, coldness White: Positive: Pure, fresh, easy, cleanliness or goodness Negative: Blind, winter, cold, distant
Photographers and color Alex Webb Andreas Gursky Steve McCurry Guy Bourdin Ernst Hass John Divola
Photographers and color William Eggleston Pete Turner Todd Hido William Albert Allard Richard Misrach Nadav Kander
