In this project ‘In the style of’ I began to research a variety of photographers based from 1850’s onwards, I wanted to mainly focus my project on an earlier genre of photography to present different techniques and styles of photography at this time. For this body of work I researched photographers from the early 1930’s as I was interested in the edgy and contextual background of the work and photographer produced throughout this era. For this project I wanted to look at something different that is taken away from typical photography that I focus on now, and to set my work like the year I have focused on. I was inspired by photographer from the 1930’s, Berenice Abbott, I was intrigued by her images as she based her work on different genres …show more content…
I also wanted create a theme throughout that documents my work that was inspired by Berenice Abbott. Throughout my sketches of the architecture I put them in order and try to present the theme that I wanted to be created throughout, which was to give a sense of a journey and something that tells a story through a simple image of architecture. I found images that documented New York that I could emulate into a similar style throughout such as bridges and tall skyscraper buildings, that were there to compare the before and after of the New York modernisation. To get an idea of how I wanted my images to look I started to take test shots of images that imitate Abbott’s work, I then developed the photographs with Photoshop to create a similar style of Abbott’s documentation of New York. I found that these images were very similar to her work and carried on with the same style when producing my final pieces of …show more content…
I set each location of my images somewhere different to separate the style of the series but also having a similar theme. I developed each of the image with black and white layers to link my work to the edgy and urban style of the 1930’s, like Abbott’s New York series. I also found that looking at her work when developing my photographs helped inform me and helped me to produce images for my project. When producing this series of photographs for my project I also developed my insight on the history and context behind the 1930’s, I found that looking at the background information on this specific time helped me understand and how to produce certain pieces. I also found that her the photographs and work that were produced throughout this era were for a reason, and this made me develop my photographs and understand Abbott’s idea and why she did her documentation of New York, and her other style of photography. I took in to consideration why she produced this certain style of work, and found that I could develop similar images to more important areas around me as she took images of well-known areas that were telling a story and taking the audience of a
You are required to discuss a work by a 20th or 21st century artist, photographer, designer, architect, film-maker, philosopher or writer and show how this work reflects, contradicts or extends theories of and attitudes to visual culture current at the time of its making.
In “Ways of Seeing”, John Berger, an English art critic, argues that images are important for the present-day by saying, “No other kind of relic or text from the past can offer such direct testimony about the world which surrounded other people at other times. In this respect images are more precise and richer literature” (10). John Berger allowed others to see the true meaning behind certain art pieces in “Ways of Seeing”. Images and art show what people experienced in the past allowing others to see for themselves rather than be told how an event occurred. There are two images that represent the above claim, Arnold Eagle and David Robbins’ photo of a little boy in New York City, and Dorothea Lange’s image of a migratory family from Texas; both were taken during the Great Depression.
Winogrand took photos of everything he saw; he always carried a camera or two, loaded and prepared to go. He sought after to make his photographs more interesting than no matter what he photographed. Contrasting many well-known photographers, he never knew what his photographs would be like he photographed in order to see what the things that interested him looked like as photographs. His photographs resemble snapshots; street scenes, parties, the zoo. A critical artistic difference between Winogrand's work and snapshots has been described this way, the snapshooter thought he knew what the subject was in advance, and for Winogrand, photography was the process of discovering it. If we recall tourist photographic practice, the difference becomes clear: tourists know in advance what photographs of the Kodak Hula Show will look like. In comparison, Winogrand fashioned photographs of subjects that no one had thought of photographing. Again and again his subjects were unconscious of his camera or indifferent to it. Winogrand was a foremost figure in post-war photography, yet his pictures often appear as if they are captured by chance. To him and other photographers in the 1950s, the previous pictures seemed planned, designed, visualized, understood in advance; they were little more than pictures, in actual fact less, because they claimed to be somewhat else the examination of real life. In this sense, the work of Garry Winogrand makes a motivating comparison to Ziller's
Celebrated artists Elisabeth Louise Vigee Le Brun and Marianne Von Werefkin have contributed to the evolution of two different art styles and the appreciation of female artists. Le Brun’s Self Portrait in a Straw Hat exemplifies the prominence of Neoclassicism and the Rococo movement during eighteenth century France. Von Werefkin established herself as an Expressionist in her Self Portrait in the rise of the twentieth century. Both representational pieces provide the viewer with a candid insight into the temperament of each artist, reflecting their artistic influences and the time period in which the artworks were created. Consequently this has affected their application of colour, tone and composition, creating two distinctive self portraits.
For my term paper I decided to go to the Cantor Museum in Palo Alto, and I chose to focus on two portraits of women from two distinct time periods. First, I decided on the portrait of Margaret Blagge, Wife of Sidney, 1st Earl of Godolphin. This portrait was painted by the artist Matthew Dixon in 1675, in the Baroque period of art. The portrait of Margaret Blagge was done in England, and it was painted as an oil on canvas. The second artwork I chose to compare was the Portrait of Sally Fairchild by John Singer Sargent. This portrait was done from the year 1884 to 1887 during the Realism movement in art. The portrait of Sally Fairchild was painted in the United States of America, and was painted as an oil on canvas. When comparing these two portraits
I also chose the first piece because of the almost off-putting gaze of the woman in the audience towards the viewer – I wanted to describe the expression she had, and the expression of the performer looking down at her. I chose the second piece, Fog over San Quentin State Prison, San Quentin, California by artist Sandow Birk, because of the use of light in the painting, and because of the subject matter – the beautiful scenery of the Bay, with a highly populated prison almost just out of sight behind the fog. I felt that this was a good example of atmospheric perspective and wanted to expand my understanding of it by studying it. The pieces both relied on light techniques to make up the composition; Shinn’s work heavily utilized chiaroscuro, and Birk’s artwork relied on atmospheric perspective. In contrast with my last formal analysis, liked both paintings I decided to write about – I did this intentionally because I wanted to expand my formal analysis skills by writing about pieces I felt an emotional connection to, to see if I could ignore my feelings and concentrate on just the content. This time around, I felt like I had taken enough notes, and I wasn’t straining my memory to recall major details about the painting, however,
And for the other half of the assignment, in this part I choose contemporary photographer Sheila Pree Bright. The reason I selected Sheila Pree Bright is largely her work, which not only was amazing but also portraying wide ranges of contemporary society and its flaws. Moreover, she seems to found a way to show what Generation Y’s view on society look like as if it were a documentary kind of like the photos of Dorothea Lange. Therefore, the next paragraph I will talk about, her works and what are my thoughts on them.
Before starting this project, I knew very little about photography, photographers, or exactly how much impact photographical images have had on our society. I have never taken a photography class, or researched too in depth about specific pictures or photographers. This project has allowed me to delve deeper into the world of photography in order to understand just how much influence pictures can have over society’s beliefs, emotions, and understandings’. I have have chosen two highly influential photographers, Diane Arbus and Dorothea Lange, who I have found to both resonate with me and perfectly capture human emotions in way that moves others.
West of the Imagination is a collection of fascinating tales of western artists from Charles Willson Peale to Georgia O’Keeffe. Furthermore, it covers various art forms from painting to photography to sculpture to illustration and to theatrical production. This book also explores comparisons between such artists as the man who “made a momentous decision to become the latter-day George Catlin and record the “vanishing American” or “fallen foe” for posterity. This man was Edward Sheriff Curtis, a Seattle society photographer.” The authors are amply knowledgeable on the subject of life and art in the west as well as how the West is a enduring concept. The content is clear enough for the general public, but more appreciated by experts who have a background in western art and history. Specific names, locations, and events referenced, imply the reader should be knowledgeable of the context and historical significance of American history. Likewise, Robert Thacker, a book reviewer from St. Lawrence University, boldly stated that “This is in every meaning of the word a wonderful book.” Thacker expresses later that “The authoritative tone belies a wealth of information, for the authors make their analysis seem easy
The characters Sherman portrays, lighting, clothing and expressions are cliché of what is present in cinema, so much that viewers of her work have told Sherman that they ‘remember the movie’ that the image is derived from, yet Sherman having no film in mind at all.[iv] Thus showing that her word has a pastiche of past cinematic genres, and how women are portrayed in cinema and photography and how Sherman has manipulated the ‘male gaze’ around her images so they become ironic and cliché.
As I looked through the list of photographers for about two days, there was a particular woman that caught my attention, Berenice Abbott, an american photographer best known for capturing society as it is. Abbott's way of seeing things was clear and realistic, which enabled her to capture portraits, city scapes, among other subjects, as they were. One of her most famous projects, and that really caught my attention, was "Changing New York", where she captured the rapid evolving New York as it was and changed. (I love capturing photographs in the city, and looking from every possible angle to capture the beauty, and reality of architecture). Furthermore, after this project was published, Abbott began scientific photography, and so, she undertook
Art critic Robert Hughes once said, “People inscribe their histories, beliefs, attitudes, desires and dreams in the images they make.” When discussing the mediums of photography and cinema, this belief of Hughes is not very hard to process and understand. Images, whether they be still or moving, can transform their audiences to places they have either never been before or which they long to return to. Images have been transporting audiences for centuries thanks to both the mediums of photography and cinema and together they gone through many changes and developments. When careful consideration is given to these two mediums, it is acceptable to say that they will forever be intertwined, and that they have been interrelated forms of
This research paper seeks to highlight the work of Garry Winogrand, a famous street photographer. This photographer was chosen because of the interest in his very intriguing work as a photographer for over 25 years.
Sally Mann’s style incorporates black and white photographs of her children, which are presented with “ordinary moments of childhood, suspended in time and transformed into aesthetic objects, takes on a distorted, even uncanny quality” (Arnason and Mansfield 719). Sally Mann photographed The New Mothers in 1989. This photograph’s most dominant elements are value and space. Having the photographs black and white really enhances the visibility of values. Most of Mann’s work is outside and has a define depth of field to blur out the background and emphasize the focus of the children. This compositional style helps to identify the high and low key values within the photos. The clothes, the reflection of the sun on the girls’ hair, and the girls fair skin are the part of the image that show high-key values, while the rest of the photo in more middle and low-key values. The intense depth of field increases a feeling of space for the viewer. In the photo you can see that the two young girls and their stroller is all in a line horizontally. Behind the girls you can notice they are outside in a open area because of the blurred grass and trees behind them. This photograph’s most dominant principles are movement and variety. The depth of field and lack of distraction in the background of the photo allows your eye to focus and move around with the subjects in the photo. The height of the subjects forms a triangle shape, which is
Henry Peach Robinson, born on July 9th, 1830, was a British photographer and prominent author on photography. Known as “the King of Photographic Picture Making,” he began his life’s work as a painter but would become one of the most influential photographers of the late 19th century. He was a prolific advocate for photography as an art form and is well known for his role in “pictorialism,” which, according to Encyclopedia Britannica, is “an approach to photography that emphasizes beauty of subject matter, tonality, and composition rather than the documentation of reality.”