In this image, most of the building takes up the whole frame. Phipps has chosen to take a photo of the building at a closer angle. This means that there is less detail and so the composition is less busy. Phipps has clearly shown the concrete structure of the building, creating a more solid effect. The main focal point is the staircases and bridges going between each block. This is prominent as there are open gaps where you can see the sky in the background. This isolates the bridges, drawing the viewers towards this point. The image has been shown in black and white, adding to the dull mood put across. Having a black and white images also means that there is less detail drawn to the image, and so the photographers views can be put across.
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In this photograph, there is more of the building in the composition. This is because Phipps has chosen to capture the image at a further distance. This means that there is more detail and the viewers is drawn to a few aspects within the image. The main focal point is the thinner block in the middle, in between the bridges. This is because it is different to the rest of the buildings, and is much smaller, making it stand out more. The stone colour of the building in the foreground contrasts with the lighter, more white sky in the background. This also adds to the attention drawn to the smaller block. The overall image shows structure in buildings and links well to Brutalism, due to these structures. The building is not modern which further links to brutalism.
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In this photograph, Phipps chose the subject of the Trellick Tower. Unlike the first two image, he has chosen to take the image from below, looking up, like a worm eye view. The colours in this image are darker, creating more contrast between the building and the light background of the sky. In all of his images, Phipps manages to capture only the subject and there are no details, such as trees, lampposts and people to distract the viewer and ruin the final image. There isn't really a main focal point of this image, as the whole building is situated in the centre and therefore is the main point of the composition. in the corner, you can see part of another building, with a much darker shade of grey, almost black which contrasts with the rest of the image meaning and this can also be seen as a main focal point.
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“When I make a photograph, I want it to be an altogether new object, complete and self-contained, whose basic condition is order.” – Aaron Siskind
“Photography is a way of feeling, of touching, of loving, what you have caught of film is captured forever… It remembers little things long after you have forgotten everything.” – Aaron Siskind “As soon as I became familiar with the camera, I was intrigued with the possibilities of expression it offered. It was like a discovery for me.” – Aaron Siskind |
In this photograph, Siskind has managed to remove any sense of scale and the viewer is drawn to the main focal point in the image, the peeling paint. The space of the image has been challenged, almost emphasising its ultimate flatness. The Abstract Expressionist painters were the prime influence for Siskinds abstract work, where he was particularly drawn to the surfaces of the canvases they presented. Although many of Siskinds work is abstract, he still manages to balance out the image, by producing delicate lines and strong colours. This bring the image into reality, where the viewer is drawn to the crackling of the paint.
In this particular image, Siskind has selected an area with a range of geometric shapes, which highlights the abstraction seen within the photograph. There paint looks unnatural, as if Siskind has peeled at the paint himself, in order to created his desired look. |
Throughout his life, Siskind became a close companion to the Abstract Expressionist Franz Kline. The subject on the left, the graffiti, reminded Siskind of the work of Franz Kline, therefore triggering his desire to capture a close up of the composition. His initial thoughts on portraying this image was causing a juxtaposition between the square frame of the photograph and the more abstract shapes of the paint, with occasional drip marks, creating a more dynamic and dramatic final image. From this image, it is clear that Siskind sometimes is inspired to show the comparisons between the art world and the photographic world, where he has experimented with taking photographs of painting.
In this photograph, there are potent comparisons between the dark shadows and paint in the image and the more bright canvas of the graffiti, presumably a wall. |
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Colin Winterbottom focuses mainly on capturing dramatic and serene images of Washington D.C and occasionally New York. Winterbottom's work is far from the generic images of day to day views of the city. In his images, he produces compelling compositions and various perspectives to portray a wide range of moods which link to the urban landscapes he has captured. His overall aim is to produce images which cause the viewer to become aware of how it feels to be in the image. In relation to my work, Winterbottom shows an interest in photographing vivid textures of the city. In an interview, he stated that he aims to create the effect that viewers can 'feel' the texture with their eyes as though they were touching the subject itself. In order to produce an extremely effective image, Winterbottom shoots with film in order to imbue images with a pleasing, lively grain.
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Frederick Sommer (1905 - 1999) was an Italian photographer who made a unique contribution to the art and photography world in the twentieth century. Throughout his career, Sommer managed to push the boundaries of photography, going beyond everyday photography by capturing images portraying poetry, drawing and painting. After solely experimenting with collecting subjects to photograph, Sommer managed to create things for the camera, which is a method that has has significant resonance with contemporary photography in the present day. Sommer spent his childhood growing up in Brazil, where he worked with his father as a landscape architect. He then moved to the US and managed to obtain a masters degree at Cornell university. Sommer's interest in photography became present after he moved to Europe, where he also enjoyed exploring art and philosophy.
“The only way to understand something is to be confronted by something that is difficult to understand.” – Frederick Sommer |
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Development - image transferTo further develop my photographs that I had taken of the Thames, I decided to experiment with transferring my images onto fabric, coating them with wax and then using ink to create a textured effect. Below, I have presented a video and website showing how this technique has worked using a flour and water paste, although I replaced this paste with hot wax. To the right, I have shown my first response to this experiment. Overall, I believe my final outcome has been effective, although I also believe that I can improve this by using less wax and more ink to portray my desired look.
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