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| Harmonious Colours |
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| Complimentary Colours |
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| Contrasting Colours |
Thursday, 30 April 2015
Wednesday, 29 April 2015
Experimenting
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| Taken by me |
What's working? I like the two different lightings that is shown in this photograph.
What's not working? The angle of the photograph isn't straight.
What's working? Work out what type of lighting I will use in my final image.
Experimenting
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| taken by me |
What's working? I like the light. I like how the shadow of the curtains show and the reflection is shown on the table.
What's not working? The lighting of the curtain bugs me also the blurred part at the bottom of the picture although it does make the shadow stand out more.
What's next? Decide what to do next for my final image. If this technique is something that I will be able to do and use.
Evaluation and Experimentation
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| Found on Pinterest |
I'm not really a massive fan of this photograph. Although it is something I would think of when it comes to my final image. I like how it shows the top half of her body through the mirror and the bottom half physically.
What I see: Red dress, reflection, shadow, background, heels, face, body.
What is working? I think the lighting stands out which makes the colours stand out. I like how her full body is shown, somehow.
What's not working? Maybe where the mirror is placed.
What's next? Work out how I could use this in my final image and decide if this technique could be used as my final image.
What is working? I think the lighting stands out which makes the colours stand out. I like how her full body is shown, somehow.
What's not working? Maybe where the mirror is placed.
What's next? Work out how I could use this in my final image and decide if this technique could be used as my final image.
Evaluation
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| Image found on Pinterest |
What I see: Mirror, grass, girl, hair, dark background.
I like how this photo is taken, making it look like she doesn't have a body. I like the use of the lighting and how the shape of the mirror is like the shape of the field. I also like how the picture doesn't show the photographer in the mirror.
Evaluation
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| Image found on Pinterest |
A different technique to show light and shadow.
Evaluation
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| Image found on Pinterest |
What I see: Ring, heart, book, letters, words.
I like how they have used a ring to make another shape formed into a shadow, with the help of a book.
Research
Mirror Image
A mirror image is a reflected duplication of an object that appears identical but reversed. As an optical effect it results from reflection off of substances such as a mirror or water. It is also a concept in geometry and can be used as a conceptualisation process for 3-D structures.Effect of mirror on the lighting of the scene
A mirror does not just produce an image of what would be there without it; it also changes the light distribution in the halfspace in front of and behind the mirror. A mirror hanging on the wall makes the room brighter because additional light sources appear in the mirror image. However, the appearance of additional light does not violate the conservation of energy, because some light is missing behind the mirror as the mirror simply re-directs the light energy. In terms of the light distribution, the virtual mirror image has the same appearance and the same effect as a real, symmetrically arranged half-space behind a window (instead of the mirror): Shadows may extend from the mirror into the half space before it, and vice versa.
Research
Silhouette:
A silhouette is the image of a person, animal, object or scene represented as a solid shape of a single colour, usually black, its edges matching the outline of the subject. The interior of a silhouette is featureless, and the whole is typically presented on a light background, usually white, or none at all. The silhouette differs from an outline which depicts the edge of an object in a linear form, while a silhouette appears as a solid shape. Silhouette images may be created in any visual artistic media, but was first used to describe pieces of cut paper, which were then stuck to a backing in a contrasting colour, and often framed.http://en.wikipedia.org/wiki/Silhouette
Evaluation & Technique
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| Image found on Pinterest |
Technique: I like how this photo is taken with the light at the back so that you are only able to see the outline of her face. This is also another technique I will be able to use when it comes to my final image.
Evaluation
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| Image found on google |
I like how the photograph is taken to make it look like a real body of a human being. This is a technique that I may be able to use in my final picture.
Artist Research
Andre Kertesz
Andr̩ Kert̩sz (2 July 1894 Р28 September 1985), born Kert̩sz Andor, was a Hungarian-born photographer known for his groundbreaking contributions to photographic composition and the photo essay. In the early years of his career, his then-unorthodox camera angles and style prevented his work from gaining wider recognition. Kert̩sz never felt that he had gained the worldwide recognition he deserved. Today he is considered one of the seminal figures of photojournalism.
Expected by his family to work as a stockbroker, Kertész pursued photography independently as an autodidact, and his early work was published primarily in magazines, a major market in those years. This continued until much later in his life, when Kertész stopped accepting commissions. He served briefly in World War I and moved to Paris in 1925, then the artistic capital of the world, against the wishes of his family. In Paris he worked for France's first illustrated magazine called VU. Involved with many young immigrant artists and the Dada movement, he achieved critical and commercial success.
- Kertész's famous photograph, "Two Gypsies", was used by The Pop Group for their album For How Much Longer Do We Tolerate Mass Murder?.
Legacy and Honours
- 1983, honorary Doctorate from the Royal College of Art; and title of Chevalier de la Légion d'honneur in Paris, together with an apartment for future visits to the city.
- 1984, the Maine Photographic Workshop's first Annual Lifetime Achievement Award;
- 1984, purchase of 100 prints by the Metropolitan Museum of Art, its largest acquisition of work from a living artist.
- 1985, Californian Distinguished Career in Photography Award
- 1985, first Annual Master of Photography Award, presented by the International Center of Photography.
- 1985, honorary Doctorate of Fine Arts from Parson's School of Design of the New School for Social Research.
- Kertész died peacefully in his sleep at home on 28 September 1985.
- He was cremated and his ashes were interred with those of his wife.
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| Andre Kertesz |
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| Andre Kertesz |
What I see: Lion, shadow, door, door knob, lock, camera stand.
Another artist who uses shadow as a self portrait.
Evaluation
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| Photograph that was taken inspired by Vivian Maier
What can I see: Shoes, feet, legs, shadow, silhouette, hand signals, ground, little kids, boys.
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Artist Research
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| Vivian Maier |
Vivian Maier
I like this self portrait of Vivian Maier because it shows her shadows which also show that it's a self portrait of her. I love how her self portraits are taken by her and the techniques she uses to take them such as shadow and reflection.
Evaluation:
I see grass, plants, shadow, hat, silhoutte, reflection.
Research:
Vivian Maier (February 1, 1926 – April 21, 2009) was an American street photographer born in New York City. Although born in the U.S., it was in France that Maier spent most of her youth. Maier returned to the U.S. in 1951 where she took up work as a nanny and care-giver for the rest of her life. In her leisure however, Maier had begun to venture into the art of photography. Consistently taking photos over the course of five decades, she would ultimately leave over 100,000 negatives, most of them shot in Chicago and New York City. Vivian would further indulge in her passionate devotion to documenting the world around her through homemade films, recordings and collections, assembling one of the most fascinating windows into American life in the second half of the twentieth century.
In 1956, when Maier moved to Chicago, she enjoyed the luxury of a darkroom as well as a private bathroom. This allowed her to process her prints and develop her own rolls of B&W film. As the children entered adulthood, the end of Maier’s employment from that first Chicago family in the early seventies forced her to abandon developing her own film. As she would move from family to family, her rolls of undeveloped, unprinted work began to collect.
It was around this time that Maier decided to switch to color photography, shooting on mostly Kodak Ektachrome 35mm film, using a Leica IIIc, and various German SLR cameras. The color work would have an edge to it that hadn’t been visible in Maier’s work before that, and it became more abstract as time went on. People slowly crept out of her photos to be replaced with found objects, newspapers, and graffiti.
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Monday, 27 April 2015
Idea: Skills and Techniques
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| Abstraction, Twin Lakes, Connecticut, 1916, Paul Strand |
Bill Culbert
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| Small glass pouring light (1997) |
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| Crayfish (1987) |
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| Jug, Window Pane (1980) |
Bill Culbert
Surface Research:
- Bill Culbert (born 1935) is a significant New Zealand artist.
- Known for his use of light in painting, photography, sculpture and installation work, as well as his use of found and recycled materials.
- He was born in Port Chalmers, near Dunedin and now divides his time between London, Croagnes, France and New Zealand.
- He is married to artist Pip Culbert and has made many collaborative works with artist Ralph Hotere.
- Bill Culbert studied at the Ilam School of Fine Arts, University of Canterbury, Christchurch from 1953 to 1956.
- Culbert received a National Art Gallery scholarship in 1957 and left New Zealand to study painting at the Royal College of Art, London.
- He exhibited in the Young Contemporaries and Young Commonwealth Artists exhibitions alongside fellow expatriate New Zealander, Billy Apple.
- Culbert began to experiment with electric light in 1967.
- National Art Gallery Scholarship (New Zealand), 1957
- Artist in Residence, University of Nottingham, 1963–65
- Greater London Arts Association AWard, 1981
- Arts Council of Great Britain Holographic Bursary, 1982
- Residency, Museum of Holography, New York, 1985
- Residency, Exploratorium, San Francisco, 1989
Friday, 24 April 2015
Surface Research on Paul Strand
Paul Strand
- Born October 16, 1890. Died March 31, 1976.
- He was born in New York City to Bohemian parents.
- He was an American photographer and filmmaker.
- He and other modernist photographers helped start up photography as a way of art in the 20th century.
- He was a student known by documentary photographer Lewis Hine at the Ethical Culture Fieldston School.
- It was during a school trip that he first visited the 291 art gallery, created by Alfred Stieglitz and where he also met Edward Steichen.
- A couple of his works were promoted in the 291 gallery itself.
- Other works of Paul show his interest in using the camera a better and different way.
- He later worked in motion pictures and still photography too.
- His first film was Manhatta (1921) which is a silent film showing the say to say life of New York City.
- This film includes a similar show of his famous 'Wall Street' (1915) photograph.
- He later moved and lived in Mexico. Worked on film there, 'Redes' (1936)
- He was also involved in other films such as 'The plow that broke the plains' (1936) and 'Native Lands' (1942).
- He married three times to three different ladies. Where two of them were artists.
Evaluation
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| Alexander Rodchenko, stairs, 1930 |
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| Paul Strand, New York, published in Camera Work 1917, photogravure. |
I see shadow, line, shapes, abstraction, people, dark, stairs.
Tuesday, 21 April 2015
Experimenting
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| Diffused Light |
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| Diffused Light |
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| Direct Light |
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| Diffused Light |
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| Diffused Light |
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| Diffused Light |
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| Light Bulb light |
Monday, 20 April 2015
In-Depth Research
Shadows
An object that absorbs or reflects light can hide another object from our view if it's placed in a way that any straight line from our eyes to the target object is broken by the hiding object. An object placed between our eyes and a light source can also prevent us from seeing the light source. This means there is an area behind any object where light from the source cannot reach. There is then a part of the screen that, lying in the object’s shadow, is dark because light is not reaching it, and we call this part a shadow.
The shape and size of the shadow produced on a screen, and the shadow area itself, are shown by shape, size, and the positioning of the object making the shadow. The area covered by the shadow grows as one carries on further behind the object. The size of the shadow formed on a screen is proportional to the distance between the screen and the light source. In other words, moving the screen so that its distance from the light doubles, without moving the object, will cause the shadow on the screen to double in size.
By rotating the object, the edge presented to the light source will change, changing the shape of the shadow on a screen. Also, since the shadow depends only on the edge presented to the light source, objects of different shapes can produce identical shadow shapes. Understanding the way shadows are created and attempting to notice shapes by their shadows are all good ways to strengthen students’ understanding of the way light grows. Shadows will not grow with distance behind the object in the same way.
Artist: Kumi Yamashita
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| 2011H366, W366, D1cmCreased Japanese paper, single light source, shadowCommissioned by American Express, New York City USA |
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| 2011 H183, W427, D10cm Carved wood, single light source, shadow |
"I sculpt using light and shadow. I construct single or multiple objects and place them in relation to a single light source. The complete artwork is therefore comprised of both the material (the solid objects) and the immaterial (the light or shadow)." -Kumi Yamashita
Kumi Yamashita is another artist that I really like. Her artworks are amazing. She makes faces out of objects I wouldn't have thought of. Being able to use such object to that extent is incredible and takes skill.
In-Depth Research
The travels of light
Light is sent out from a source from all directions. The energy in a light beam travels in a straight line at the speed of light (about 186,000 miles per second).
Light can be reflected, absorbed, or scattered. Most objects reflect light from their surface in all directions, no matter what direction the light started from. In most cases, only part of the light is reflected, while some is absorbed by the object.
The idea that light travels in straight lines conflicts with our everyday experience on Earth because we are surrounded by reflecting and scattering objects. Indoors, walls reflect light so that light produced by a source will have an effect on us from all directions. Outdoors, the daytime sky is not dark because impurities in the atmosphere scatter light. This makes it difficult to understand why, for example, the Moon glows so brightly in the nighttime sky, when it appears to be just a rocky ball in the daytime sky.
In-Depth Research
Colour and light
Certain colours of light are more reflected than other colours. White light (containing essentially all colours) falling on an object causes light of a particular colour to be reflected. Objects that reflect most of the light falling on them appear bright; objects that absorb most of the light and reflect little appear dark. An object that reflects no light at all would appear pitch black.Our eyes collect the light that falls upon them. They recognise colours, and essentially report to the brain a “map” of the colour and intensity of light that they receive from each direction. This is the information the brain uses to construct a picture of the world. For example, when you are standing in a classroom lighted up by lights and looking at a blue book, white light from the lights hits the book and is reflected in all directions. This is why the book is visible from any direction. Your eyes see blue light from a particular direction, and the brain interprets the shading and color as a book. In directions from which little light is coming, we see darkness or the colour black.
http://www.learnnc.org/lp/editions/earth-sun/6624
http://www.learnnc.org/lp/editions/earth-sun/6624
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