Architectural Photography - The Appeal of Monochrome over Colour

University of Kent Kent School of Architecture Tutor: Howard Griffin 8702 Words February 2016

Architectural Photography: The Appeal of Monochrome over Colour

James Cotton

Abstract In examining the medium of photography, its history,

notion that the appeal of the monochrome format was

development and visual appeal; this dissertation sets

at once an issue of cost as much as it was its creative

out to explore the reasoning for the continued use and

alternative to the uptake of colour dominating the

appeal of monochrome over the medium’s counterpart

publishing industry.

in colour.

Having looked into the theories and technology of Beginning

with

exploring

the

theory

behind

chromatics, photographers portraying work in colour

photography, this work examines the visual perceptions

and monochrome will be examined within this body

of imagery, colour, tone and form, as well as taking

of work, examining the success and use of chromatics

into account the individual interpretations that form the

in the fields of street photography, portraiture,

core of experiencing an image. While we experience

abstract photography and culminating in architectural

a large spectrum of colours and tones throughout our

photography.

visual understanding of the world, the role of tones and

Throughout this work, I sought to explore the appeal

colours within photography pose effects on the appeal of

of the monochrome image; this appeal remains in large

a given image and our perception of it. This dissertation

part subjective, not just for the viewer, but in the choice

explores the separate aspect of colour and form; going

for the photographer to utilise it within their work.

deeper into the form of a picture, the visual structure

The medium’s appeal, not as an artistic medium, but

of imagery through researching Gestalt principles.

as a means of documentation, namely in the field of

The extent to which past experiences, memories and

architecture is later assessed.

elements of nostalgia impact the appeal of a given subject matter greatly impact a photograph; a medium considered as bringing life to our thoughts.

The usage of colour within photography can be noted as the result of technical advancement and experimentation, posing the question of the continued appeal of monochrome, the traditional format. Research into the uptake of these new methods and the impact, both the technical and financial, had on the profession and photographers of the time; putting forward the

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Acknowledgements Firstly, I would like to acknowledge and express my sincere gratitude to my tutor Howard GriďŹƒn, whose support and guidance was invaluable, as well as friends and family who have helped me throughout the research and writing of this dissertation.

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Contents Introduction

................................................... 4

Visual Perceptions

....................................................5

Colour

....................................................5

Tone

....................................................6

Gestalt Theory

....................................................7

Memory, Nostalgia and Truth

....................................................9

Advancement and Inuence of New Technology

..................................................11

Autochrome

..................................................11

Colour Stock

..................................................12

1970’s Uptake of Colour

..................................................13 ..................................................14

Chromatics Portraiture

..................................................14

Street Photography

..................................................15

Colour

..................................................17

Comparisons

..................................................19

Architectural Photography

..................................................21

Julius Shulman

..................................................21

Ezra Stoller

..................................................23

Helene Binet

..................................................23

Iwan Baan

..................................................24

Appeal of Monochrome

..................................................25

Chromatic Values in Architecture

..................................................27

Conclusion

..................................................29

Bibliography

..................................................31

Illustration Credits

..................................................33

Word Count (excluding footnotes and captions) - 8,702

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Introduction ‘The dominance of colour has not only confirmed

hired photographers of the time. The work and appeal of

the status of black-and-white as the medium of

relevant individuals, in monochrome and colour, will be

documentary authenticity, but also paradoxically as

assessed within varying fields focusing on portraiture,

the primary vehicle for artistic expression’

street photography, abstract photography, as well as on

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architecture.

- Robert Elwall

While some aspects of psychology, photographic history and technology are grounded in evidence Within this dissertation I intend to examine the use

and quantifiable data, it must be noted that due to the

and appeal of the monochrome image over its colour

subjective nature of the research area, a large part of the

counterpart within photography; exploring the role

research for this work will be qualitative, namely critical

and artistry of the two forms in regards to capturing an

reviews, and interpretations of work. In comparing and

image, be it in a documentative or artistic manner.

assessing the validity of these views, the benefits of monochrome and colour will be assessed.

In order to properly investigate the two forms, this essay will examine visual perceptions, our interpretations

The architectural drawing can be seen as ‘interesting,

of colour and tone, as well as Gestalt theory; the way

the photograph as magnificent, and the building as an

in which visual images are perceived and understood.

unnecessary stage between’.2 In researching the use and

Linked to perception, an examination of individual

success of both black-and-white and colour in terms of

interpretation and the role of emotion will be included,

artistry and documentation, of capturing the architectural

exploring how past experiences alter the perception of

experience, the appeal of the monochrome image will be

an image through the form of memory and nostalgia;

explored; assessing the validity of Robert Elwall’s view

namely how a sense of time or period can add depth

of black-and-white photography becoming the medium

and meaning to a picture. The benefits of each form of

of artistic expression over its colour counterpart.

photography will be examined, and the artistry needed to create images throughout time will be evaluated.

The effect of time will be considered and the substantial impact that changing technology has had on photography and its usage in not only visually conveying architecture, but its increased usage in advertisements and marketing, further pushing the use of colour onto 1

Robert Elwall, and Royal Institute of British Architects. Building with Light: The International History of Architectural Photography. (London: Merrell, 2004). P.198 2 Elwall. Building with Light: The International History of Architectural Photography. P.9

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Visual Perceptions ‘The signature of the photographer … exerts

perception is an illusion perceived by the individual is

a tangible influence on the structure of visual

crucial when exploring these topics further.

perception. Every photographic image is both an

Colour

interpretive act and a document of its own age.

It carries the traces of both the technology of the camera and the uniqueness of the photographer’s eye’3 Like any form of art, the individual brings their own interpretations and opinions that alter the way the image

Figure 1: Twelve-hue colour wheel

is perceived. Before researching deeper into the field of photography, it is beneficial to first look into visual

Important in exploring the possible appeal of

perception, the way in which the individual human mind

monochrome are the visual perceptions surrounding

perceives colour, tone, as well as graphical principles,

colour and colour patterns themselves. Painter and

illustrated within Gestalt theories.

theorist Johannes Itten states, ‘Colour is life; for a world without colours appears dead to us … Light, that first

Individual interpretation has a mutual relationship with

phenomenon of the world, reveals to us the spirit and

the image being perceived; all representation relies

living soul of the world through colours’.6 We see our

on many levels of ‘guided projection’. Our own prior

world through a spectrum of varying colour patterns

understanding of shape and form are fundamental

and combinations, affecting us on many levels. Be it

in bringing, as art historian Gombrich notes, dabs of

emotionally, mentally and even physically; varying

pigment to life.4 Our perception of a painted horse, or

colours can alter the temperature we perceive our

any other kind of animal, will be fundamentally dictated

surroundings as, impacting our everyday lives. Colour

by our knowledge of that animal’s form, our previous

is so heavily ingrained in our unconscious/psyche; it

experiences, and prior representations. We read an

would be easy to assume that colour photography would

image in a similar manner to how we read text, our mind

appeal more to our natural perceptions. However, this

automatically overlooks misprints and automatically

may not be the case, and in fact it could be said that

overlooks errors; the idea of reading, either text or

simplifying the substantial variations of colours, into

image, is a completely individual task, in other words

just tones, allows the form and artistry behind the

‘expectation created illusion’.5 Understanding that visual

image to be clearly expressed. In order to understand

3

Julius Shulman, and Pierluigi Serraino. Modernism Rediscovered. (London: Taschen, 2000). P.7 Ernst Hans Gombrich. Art and Illusion: A Study in the Psychology of Pictorial Representation. Sixth ed. (London: Phaidon, 2003). P.170 5 Gombrich. Art and Illusion: A Study in the Psychology of Pictorial Representation. P.170 6 Johannes Itten. The Art of Color : The Subjective Experience and Objective Rationale of Color. (New York: Van Nostrand Reinhold, 1961). P.13 4

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the effects colour has psychologically, basic properties and effects of colour patterns and combinations should be explored.

At the core of colour theory, are the three primary colours; Red, Yellow, and Blue. These three are subsequently blended to form the three secondary colours: Orange, Green, and Violet respectively.7 From here, the 12-hue colour wheel can be formed, with hues being continuously blended to form an infinite number of colours, beginning to highlight just how expansive perceptions of colour can be. [figure 1] Figure 3: Mondrian, Piet. 1920. Oil Paint

The strong contrast of blue, red and yellow forms a visually appealing image.

The interactions of these colours are fundamental to our visual perception. Itten breaks down the different kinds

contrast, so yellow/red/blue is the extreme instance of

of colour contrast into seven categories: contrast of hue,

contrast of hue’.9 An example of this being the work by

saturation and extension, light-dark contrast, cold-warm

Mondrian, highlighting the visually appealing nature of

contrast, simultaneous contrast and complementary

contrasting colours. [figure 2]

contrast.8 These seven categories seem fairly obvious when reading them in text, but experiencing them in

Distinguishable from the shape of the image is its colour, with the variables mentioned playing a key role in the emotional response to the work. Whereas shape requires an active response, an emotional response is linked to colour, or combinations of certain colours; colour is primarily expressive, whereas shape can be seen to engage the actively engaging mind. Rudolf Arneim notes colour as ‘Blandishments to lure the eyes,

Figure 2: An example of contrast in hue; the black separations create further distinction and form.

as the beauty of the verses in poetry is a lure for the ears’.10 This view of colour as a blandishment, a lure

everyday life, they blend together to form a complex

separate to that of form is relevant, adding credence to

pattern of perception and emotion.

the appeal of monochrome.

Out of these, contrast in regards to hue is the most basic and essential to our visual experience, as the grouping

Tone

of varying sets of colours can have a significant impact on our perception of space. Itten states ‘just as black-

‘Light and darkness – this polarity is of fundamental

white represents the extreme instance of light-dark

importance in human life … The painter’s strongest

7

Itten. The Art of Color: The Subjective Experience and Objective Rationale of Color. P.35 Itten. The Art of Color: The Subjective Experience and Objective Rationale of Color. P.35 9 Itten. The Art of Color: The Subjective Experience and Objective Rationale of Color. P.36 10 Arnheim, Rudolf. Art and Visual Perception: A Psychology of the Creative Eye; the New Version. (Berkeley ; London: U. of California P, 1974) P.337 8

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expression of light and dark are the colours of white

with defining a new approach to visual perception,

and black’11

resulting in a major new theory, Gestalt Theory.13 Gestalt, a term of German origin, meaning ‘form’ or

- Johannes Itten

‘whole’, is grounded in psychological phenomena, with work based on observing how visual cues such as patterns, forms, shapes and objects, our translated in our minds, explaining the way in which we experience the world.

The separation between figure and ground is a key principle of Gestalt. As Gordon notes on how the figure and ground relationship can be entirely reversed or even Figure 4: Space and form can be enhanced through tonal differences

ambiguous. [figure 5] What do we initially perceive the vase or the profiles? “Gestaltists” make strong use of

Linking to monochrome photography, and perhaps to

imagery like this as a means of breaking primary visual

its appeal, is its sole reliance on tone and, as notes Itten,

habits and subsequently putting them in question.14

the two fundamentals, white and black. As Itten further

These broad visual principles can be looked at more

explains, there are only two boundaries to light and dark,

specifically within the context of photography and the

the blackest black, “black velvet” and the whitest white,

individual’s perception and understanding of the three

“baryta”, with infinite variations of light and dark greys

- dimensional space it aims to convey. Psychologist

in-between. Returning to the idea of the individual’s

Richard Greggory, refers to this phenomenon as a

interpretation, the number of distinguishable greys is

‘perceptual decision of what is figure and what is

correlated with the sensitivity of the individual’s eye. It could be argued that photography in a pure tonal form offers a more simplistic, understandable language to be perceived; stripping an image of an unlimited multitude of colour and colour interactions allows us to read an image in its most striking and fundamental form; a play of light, shade and depth.

Gestalt Theory ‘Why do things look as they do?’12 Regarded as the most famous question in the history of perception by Ian E. Gordon, the question was posed by German psychologist Kurt Koffka, who alongside Max Figure 5: Individual perception is shown here through the dual forms of the vase and the faces; highlighting the basis of Gestalt principles and subjectivity within photography.

Wertheimer and Wolfgang Köhler, was closely linked

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Itten. The Art of Color: The Subjective Experience and Objective Rationale of Color. P.46 Ian Gordon. Theories of Visual Perception. (Chichester: Wiley. 1989). P. 55 13 Gordon. Theories of Visual Perception. P.51 14 Gordon. Theories of Visual Perception. P.53 12

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ground’, backing up the idea of individual interpretation

This idea of the individuals visual interpretation as

as referring to perception as ‘dynamic searching for the

being equally or perhaps more important than the given

best interpretation of the available data’.

image itself is of particular relevance to the appeal of

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monochrome photography and our visual perceptions.

‘The eye is often described as like a camera, but it is the

Perhaps then, the perception and success of black-

quite uncamera-like features of perception which are

and-white imagery is due to its simplicity and, as will

most interesting’

be explored later, the striking forms and contrasts

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- R. L. Gregory

achievable. Our mind fills in the blanks and brings life, depth and motion to a stationary, two-dimensional

Gregory explores the core theories and limitations

image. When looking at the appeal of monochrome

in Gestalt thinking further, linking to the idea earlier

photography

of an individual’s perception. He considers the idea

interpretation is key and this can be seen as subjective.

as

an

artistic

medium,

individual

that our mind is constantly attempting to “organise” oftentimes meaningless data into objects, and that our past experiences and perception of the world are used to translate what we presently see. In other words, as Gregory states, ‘Objects are far more than patterns of stimulation: objects have pasts and futures, when we know its past or can guess its future, an object transcends experience’.17

Figure 6: The contrast of positive and negative space creates the perception of grey dots in the centre

Figure 7: The Necker cube; an example of psychological distortions illustrated through Gestalt. The missing faces allow for human misinterpretation.

15

Richard L. Gregory. Eye and Brain: The Psychology of Seeing. (London: Weidenfeld and Nicolson, 1977). P.11 Gregory. Eye and Brain: The Psychology of Seeing. P.7 17 Gregory. Eye and Brain: The Psychology of Seeing. P.8 16

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Memory, Nostalgia and Truth ‘The freezing of time creates a dimension in which the

self-understanding of the possessive individual has

future perfect of the photographic image … may have

been explored. It does this through its abilities to frame,

been suspended, manipulated and reworked to become

freeze and fix its objects’.22

the past perfected’18

- Celia Lury - Carole-Anne Tyler (1994)

This view of the photograph as a time machine as such, certainly resonates with domestic photography, with families returning to photo albums to reminisce

Embedded within the field of photography is the human

on past memories, but can just as simply be applied to

need to hold on to the present, to make a physical

photography in the artistic sense. In the same way that

representation of a memory at a point in time. Advances

a family photograph conveys history and emotion, the

in technology had reached a point where a single “click”

photographer’s ‘click’ is not only a technical exercise,

from the touch of a finger could freeze time, fixing

but an artistic expression of the time it was taken and

an event for an unlimited amount of time.19 Sigmund

of the personal experience sealed within the considered

Freud makes this link between human memory and

composition.23

technological documentation, noting that the sensory

Utilising the emotional effects of memory through

functions of the camera are based on the same model as our human organs, making the distinction between ‘natural’ and ‘artificial’ memory.20 While the use of photography can be regarded as functioning as an ‘aide-memoire’, its role can be seen as going further, providing a memory free from human distortion over time, a ‘prosthetic of the inside’ that can be reproduced and the memory recollected at any time.21 Considering photography as a means of documentation and as a means of capturing life is valuable when considering the appeal of the monochrome format.

‘The photographic image plays a key role here in that it was one of the techniques that enabled a refiguring of

Figure 8: Thompson, Cole. 2008. Auschwitz 14. Poland Utilising long exposures of visitors of the camps as a proxy for the deceased, the work captures the emotive history and memories of the concentration camps.

the conventional relations through which the previous

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Celia Lury. Prosthetic Culture. (London: Routledge, 1997). P.3 Lury. Prosthetic Culture. P.138 20 David Bate. “The Memory of Photography.” Photographies 3, no. 2 (2010). P.244 21 Bate. “The Memory of Photography.” P.244 22 Lury. Prosthetic Culture. P.3 23 Lury. Prosthetic Culture. P.138 19

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pictorial means is the work of photographer Cole

photographic image. If the artistry of the medium is

Thompson. His body of work from his time visiting

seen as a language, then some argue that language can

Auschwitz highlights this impact, strongly evoking the

never fully articulate experience, that the language of

horror of the concentration camps by presenting the

the photographer can never truthfully express the scene

victims as ‘ghosts’, haunting the bleak environments.

itself. Relating back to the technological development

[figure 8] Not only a technical achievement visually,

of the photograph, it has to be remembered that it is

its success lies in effortlessly capturing the emotion of

just that, a technology, a means of documentation but

the location and its history, and framing it within single

not necessarily of experience. French philosopher Jean-

‘snapshots’.

François Lyotard, views the camera as industrialised

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technology, distorting perspective and creating a “poor

Linked strongly with our own visual perceptions then,

binarized ghost of what it was beforehand”, supporting

our initial interpretation of a black-and-white image

the belief that artificial memory cannot replicate the

will be that it’s from an older time period; that due

experience of natural memory.25

to its visual connection to older technology, it gives the impression of history to the image. Although

After researching visual perceptions as well as

technology has advanced, black and white photography

individual interpretations, it can be said that the appeal

is still popular, firstly for its tonal qualities but also for

of monochrome over colour photography is a subjective

its traditional and in many ways nostalgic appeal.

matter, based on the individual’s opinion and their past experience which may reveal elements of nostalgia.

Nostalgia and memory of an event can be represented

Whilst colours and tones are fundamental aspects to

in colour photography just as easily of course, but

an image, bringing form and in many cases emotion, it

artistically, the lack of colour gives the idea of an older

can be seen that interpretation and perception are just

period of time, particularly in regards to architecture.

as critical. Lyotard writes on the role of technology

Architectural photography is a pictorial development

replicating vision, noting that it is a matter of ‘giving

of society through time, the change in technology

body’ to the artificial thought which they are capable”.26

underpinning the structure of the architecture developed

This view adds credence to the idea that a photograph

as did the technology of photography.

is seen through an interpretive process, that the medium

Our visual knowledge of architecture and society in

brings a physical from to our thoughts and perceptions.

general is documented through the form of photography,

Further supporting this, Robert Ivy notes that ‘seeing

but many argue that the medium inflicts us with

is a form of making’.27 In assessing the appeal of the

memories, memories that conflict with Freud’s ideas

monochrome image over that of colour, the image being

of preventing human distortions, that can be warped by

a truthful account of the space is relevant, but in the

the personal eye of the photographer. Contrasting with

artistic sense, its preference is in large part linked to the

the idea that photography documents our memories is

individual and what they bring to the image in the form

the idea that it also has the capacity to greatly enhance

of experience, emotion and nostalgia.

and even create memories, which in turn brings forward the idea of distortion of truths and lies within the “The Story Behind “The Ghosts of Auschwitz-Birkenau”” http://www.photographyblackwhite.com/story-ghosts-auschwitzbirkenau/ Tom Slevin. “Prosthetic memory.” Philosophy Of Photography 4, no. 1 (2013) 26 Lury. Prosthetic Culture. P.157 27 Robert Ivy. “Framing the Image.” Architectural Record 197, no. 8 (2009) 24 25

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Advancement and Influences of Technology ‘The history of the photograph is more than a succession

with the basic essence of the pinhole capturing light,

of images and names … it also encompasses the

beginning its development in visual documentation.

changing ideas which have shaped and reshaped our Technological progression considerably altered the

understanding of the medium and its potentials’28

photographic landscape, mainly though experimentation

– Christopher Phillips

in the use of colour, the advent of which changed the Paralleling Le Corbusier’s quote ‘architecture is the

way we see our world. It is difficult for instance, to

masterly, correct and magnificent play of light’, Robert

imagine the first defining image of our own blue earth in

Elwall draws attention to the architectural photographer,

monochrome, an image that Baud-Berthier makes note

Eric De Maré and his interpretation of photography as

of representing a ‘shared global destiny’.31

‘Building with light’.29 These readings of the artistic mediums of architecture and photography serve as

Autochrome

an interesting insight into the relationship both share with each other, the influence and also the historical background of the forms.

The basic principles of photography began developing from the late Renaissance period with the basic process of image capture, the admittance of light through a hole within the wall leading to an inversion of that image on the opposing wall. The mediums relationship to architecture begins at this point, not coming to Figure 9: Kühn, Heinrich. 1908. Still life with violets. Autochrome

major prominence however until its use in visual communication, namely geometric perspective as used by architect Leon Battista Alberti.

30

Significant developments and experimentation were

Alberti theorised

required before colour photography would become

a simplistic method of easily and effectively drawing

anything close to a viable alternative to the traditional

perspectives through the use of positioning a flat pane of

monochrome format of the time. From 1907, a

glass in a suitable visual place vertically and looking at

revolution in the field of photography came in the form

it through a small eyepiece. The roots of the architecture

of autochrome; developed by the Lumière brothers,

and photography relationship can be easily seen here,

the new technology was vigorously received and was

28

Phillips, Christopher, and Metropolitan Museum of Art. Photography in the Modern Era : European Documents and Critical Writings, 1913-1940. New York: Metropolitan Museum of Art : Aperture, 1989.

29 Elwall. Building with Light: The International History of Architectural Photography. P.8 30 Newhall, Beaumont., and Museum of Modern Art. The History of Photography from 1839 to the Present. P.9 31 David Okuefuna. The Dawn of the Color Photograph. (University Press Group, 2008).P.9

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compared to the beauty and elegance of Pablo Picasso’s

monochrome would be seen as “crucially alien”.36 James

famous painting, Les Demoiselles d’Avignon. It was

Gardner notes the work of Heinrich Kühn, describing

deemed at the time that user-friendly colour photography

his artistic use of the autochrome format and success in

would dramatically alter the development of visual

bringing colour to the medium of photography, referring

culture. American photographer, Alfred Stieglitz made

to his work as being in an “an eternally present tense”.

the bold claim ‘The possibilities of the process seem to

With regards to the appeal of monochrome over the

be unlimited. Soon the world will be colour mad’.

use of Autochrome, the use of colour can be seen as an

32

element of life, an element of photography that adds to While relatively easy to use, leading to a strong

the composition, subject and form.37 [figure 9-10]

response from amateur photographers, the process of producing autochrome was a fairly complex industrial challenge. Undertaken at the Lumière factory in Lyon, the process involved the use of starch grains; potato being the most effective, put through sieves to isolate them at between ten and fifteen microns. Subsequently split into three groups, dyed red, green and violet, they were then placed on a glass sheet coated in varnish.

Following the addition of charcoal powder and flattened with the use of a roller, the final stage of production was coating the sheet with panchromatic photographic emulsion.33 Following this industrial process, the result was a medium so fragile that when publically displayed, reproductions were often used.34

Figure 10: Kühn, Heinrich. 1912-13. Edeltrude and Lotte. Autochrome

The process of using the new technology was different

Colour Stock

to standard techniques, as although no new apparatus was needed, much longer exposure times were required

The use of colour greatly found traction in 1935 with the

for the colour to become apparent, restricting the user

introduction of Kodachrome transparency film, followed

to relying on a tripod for exposure times up to thirty

by the Kodacolor negative stock in 1942. While costly,

times greater than that of standard photography, a factor

it was mainly used by lifestyle magazines and in many

hindering the uptake of the new form and maintaining

advertisement campaigns. One of photographer Julius

the appeal of the monochrome format.35

Shulman’s first assignments of the New York World Fair led to a colour output and throughout his career

While the format never achieved the clarity of the

would be obliged by companies to use colour. With only

monochrome photography of the time, it can be argued

these firms being able to afford the technology and it

that it provided a more human experience, while

remaining too expensive for the professional press and

32

Okuefuna. The Dawn of the Color Photograph. P.9 “Autochrome Technical Details”, http://www.nationalmediamuseum.org.uk/nmem/autochrome/Technical_Details.asp 34 James Gardner. “Early Color.” Magazine Antiques 179, no. 2 (2012) P.117 35 Elwall. Building with Light: The International History of Architectural Photography. P.196 36 Gardner. “Early Color. P.117 37 Gardner. “Early Color. P.117 33

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the amateur photographer, the transition to colour was

style of architecture, one that was becoming more and

marked heavily with suspicion.38

more polychromatic.41

The creative aspect of the profession was questioned

In terms of technology, the discovery in 1972 of dye

during this time, with Edwin Smith resenting the loss of

transfer methods, and the subsequent uptake of the

creative control due to photographers not having access

medium would render colour a viable alternative to the

to the facilities to process their own materials. Other

monochrome photograph; Elisabeth Sussman notes the

criticism put forward ideas that it was a distraction.

advancement as being able to ‘achieve an artistic based

Versnel felt the use of colour distracted from the

presentation of the depicted phenomena through the

photographer’s key task of utilising and displaying

medium of colour photography, for the colour was able

space. Widely regarded photographer Ezra Stroller was

to produce its artistic effect’.42

also critical of the use of colour stock, referring to it as ‘inauthentic’. Shulman also took the opinion that colour

With the mainstream uptake of colour methods of

was little more than a veneer that could never match the

photography in the late 1970s and early 80s, the

39

form given qualities or dramatic force of monochrome.

photographic landscape dramatically changed. Whereas

Against the friction over the integration of colour

before, it was a challenge to apply colour to images, the technology had evolved and colour had become a

1970's Uptake of Colour

viable option for most photographers. The normality of

photography and of its new technology, it’s surprising to

the profession had transformed, black-and-white was

see how its usage dramatically exploded beginning in the

becoming less prominent, and with it the artistry had

late 70s. Robert Elwell comments on his reasoning for

reversed. While it was once an artistic endeavour to

the swift change, “Insistent demands of the advertisers

utilise colour, it was now more artistic to break the norm

enthralled by colour’s irresistibly seductive appeal”.

and stick to monochrome, furthering its use and appeal.

Telling of the change in the photographic landscape, leading photographer Steve Rosenthal decreased the amount of black-and-white work he produced from 90% to 10% of his overall output between 1974 and 1989.40 Fundamental to its swift uptake in this period, is not only its dramatic increase in quality over the stock colour, but also how new printing techniques made the utilisation of colour a financially viable option to many photographers for the first time. Additionally, in the field of architectural photography, editors heavily embraced the change, prior to which they had been frustrated with

Figure 11: Eggleston, William. Untitled. 1972 William Eggleston is an example of the successful use of colour within photography; utilising methods of colour dye transfer.

a medium that inadequately expressed the changing 38

Elwall. Building with Light: The International History of Architectural Photography. P.194 Elwall. Building with Light: The International History of Architectural Photography. P.194 40 Elwall. Building with Light: The International History of Architectural Photography. P.194 41 William Eggleston, John Szarkowski, and Museum of Modern Art. William Eggleston’s Guide. (New York: Museum of Modern Art, 2002). P.8 42 Elisabeth Sussman et al. William Eggleston :Democratic Camera, Photographs, and Video, 1961-2008. (New York : Munich: Whitney Museum of American Art, 2008). P.11 39

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Chromatics Having examined the history, development and

the content of the image.

perceptions of photographic imagery, their use should

The use of photography in portraiture is an interesting

now be explored in practice. As highlighted in the context

aspect in regards to the role of black-and-white;

of technological development, the usage and success of

stripped of colour, the emotion and humanism of the

colour within photography in many ways succeeded

subject becomes the primary focal point. A key figure

black-and-white, but the fact that that monochrome is

in the medium is British fashion photographer, David

still a widely used form, lends credibility to the idea

Bailey. In his Box of Pin-Ups work, he utilises the

that it has advantages and appeal over its counterpart

benefits of tonal differences and lighting techniques to

in colour.

great effect, expressed in his widely publicised image of Mick Jagger in 1964, in which a frontal flash of light,

Portraiture

simultaneously glamourizes Jagger’s flawless skin,

Returning to visual perceptions, it can be noted that

while also giving a cold aesthetic, softened by the fur

the underlying benefit of monochrome is its striking,

hood.43 [figure 12] The lack of colour gives the work

form giving nature. Whereas colour is an addition, the monochrome image leaves the form with mere tone, providing no distraction and placing full emphasis on

Figure 13: Bailey, David. 1984. England

Figure 12: Bailey, David. 1965. England

43

David Bailey and Jackie Higgins. David Bailey. (London: Phaidon, 2010). P. 20

14

temperature and iconography, the utilisation of which

and the camera itself become lighter and more flexible,

would have dramatically changed the tone of the piece.

photographers were fully able to document ‘snapshots’

Twenty years later, the striking nature of Bailey’s work

of life, capturing their subjects in the moment. The

is evidenced further in a portrait of Jack Nicolson; again

photographer’s mobility leads to the medium becoming

utilising tonalities and humanism and capitalising on

a form of hunting, a form of shooting.45

the actor’s ‘bad boy’ reputation, Bailey creates a deep

Henri Cartier-Bresson, is a notable street photographer,

shadow across his face, even emphasising a twinkle in

capturing humanism in 1940s Paris, whose work is

his eye.44 [figure 13]

regarded for its ‘elegance, precision, humour and compassion – posed to seize in the coming moment the

Street Photography

appropriate instant’.46 This liberty to capture images swiftly and easily brings the medium of photography closer to the experience, which is seen first-hand by the photographer, brought to the viewer; linking back to truthfulness, offering a true account of the scene.

Historian Michel Frizot furthers Cartier-Bresson’s use of humanism by highlighting its formal balance, allowing it to maintain the surprising effect of the moment captured bringing a universal impact through the humanity of its subjects.47 Contrasting with the staged, studio based portraiture of David Bailey, Cartier-Bresson captures moments at their most truthful, crafting striking images due to the fact he ‘belonged in their world and therefore knew how to bring their secrets to light’. The view by

Figure 14: Cartier-Bresson, Henri. Guard of Honour. 1973.

Just as portraiture makes the humanism of its subject matter the primary focus, street photography captures humanism at an urban scale, highlighting social issues and interactions. A medium correlating closely to the advancement of technology and the development of

Figure 15: Cartier-Bresson, Henri. 1952. Pamlona Spain The comparison of the Cartier-Bresson’s to image of a boy to that of Picasso’s Actor highlights the form giving qualities of the medium of monochrome; while furthering its similarities to art.

photography; with the camera liberated from the tripod

44

Bailey and Higgins. David Bailey. P. 62 Jean-Pierre Montier and Henri Cartier-Bresson. Henri Cartier-Bresson and the Artless Art. (London: Thames and Hudson, 1996). P.66 46 Henri Cartier-Bresson, Jean Clair, and Hayward Gallery. Henri Cartier-Bresson : Europeans. (London: Hayward Gallery, 1998). P.8 47 Cartier-Bresson et al. Henri Cartier-Bresson Scrap Book : Photographs 1932-1946. (London: Thames & Hudson, 2007). P.31 45

15

Jean Clair encapsulates the essence of becoming part of

To Cartier-Bresson, writes Montier, ‘photography is

the scene and documenting humanism, further noting

non-colour’, a view that renders the medium of colour

that he knew ‘how to avoid being caught in the act’.

entirely separate to that of photography, going beyond

48

highlighting the appeal of monochrome and throating

Fundamental to street photography is humanism, an

the notion that photography should be an exact replica

element that requires a high level of timing, a skill

of our perceptions.53

Cartier-Bresson demonstrated. Showing his artistic eye for form and humanism within his work is his image of a boy in Pamplona, displaying a posture that strongly resembles that which Picasso gives his Actor. [figure 15] This eye for form lends itself to his work being presented in monochrome. With an emphasis on geometry, harsh shadows are formed from the reverberations and punctuations of his subjects; often random in nature as highlighted in his Spain images. [figure 16] Featuring fixed geometric elements, the walls and corridor as well as gaping hole, framing the subjects and the form giving echoes they create.49 This random, punctuating display of movement becomes the image; an organisation of form and shadow that displays the visual benefits of the monochrome photograph.

The tonality spectrums within black-and-white images allow photographers to create a sense of gravitas, an image devoid of the colour that encapsulates our world that can be read and identified much more rapidly.50 While colour renders a more flattering approach to reality, one conforming with perceptions, the use of monochrome has artistic appeal exactly because of its departure from this sense of reality, allowing the photograph to capture life in a more impacting way.51 ‘In photography, colour informs; it lacks the subtlety to restore the complexity of real and is so dully realistic to arouse emotion and demonstrate

Figure 16: Cartier-Bresson, Henri. 1933. Seville, Spain The images highlight the sense of depth and form giving nature achievable through black-and-white-photography. Through the motion of the subjects, reverberations of light and shade are produced.

the power of abstraction of black-and-white, it leaves one cold’.52 – Jean-Pierre Montier 48

Cartier-Bresson, Clair, and Hayward Gallery. Henri Cartier-Bresson: Europeans. P.8 Cartier-Bresson et al. Henri Cartier-Bresson Scrap Book: Photographs 1932-1946. P.45 50 Montier and Cartier-Bresson. Henri Cartier-Bresson and the Artless Art. P.73 51 Guy Tal. “Obsession, Joy, and Torment” Lenswork 119, (2015): 205-209.

52 Montier and Cartier-Bresson. Henri Cartier-Bresson and the Artless Art. P.73 -74 53 Montier and Cartier-Bresson. Henri Cartier-Bresson and the Artless Art. P.74 49

16

Figure 18: Eggleston, William. Untitled. 1996

Photographer and critic, John Szarkowski, notes the

Colour

difficulty photographers had in seeing at once the sky

‘Nothing affects the human mind more dramatically

and the blue; placing emphasis on the tonal qualities of

than the apparition of a gigantic colour corona in

his skies, and how radical it was for photographers to

the heavens. Thunder and lightning frightens us;

see it in any way other than in monochrome.55

but the colours of the rainbow soothe and elevate

A pioneer of utilising colour to strong visual effect

the soul. The rainbow is accounted a symbol of

is American photographer William Eggleston; fully

peace’.54

expressing the chromatic vales in the form of abstract and largely street photography, capturing the mundane

- Johannes Itten

aspects of everyday life. For Eggleston, anything in

Directly linked with the advancement of technology

front of the camera was worthy of a picture even if

was the rise of colour photography, a development in

it was banal or trivial; an approach that set him aside

the medium, that led to the frustration of photographers

from many other photographers. In not prioritising a

who as a collective had spent a century perfecting

dominant, striking form in his works, the use of colour

their craft in monochrome, suddenly being presented

is given more dominance and visual focus.56 [figure 18]

with new techniques requiring different skill sets.

54

Itten. The Art of Color: The Subjective Experience and Objective Rationale of Color. P.13 Eggleston, Szarkowski, and Museum of Modern Art. William Eggleston’s Guide. P.9 56 Sussman et al. William Eggleston: Democratic Camera, Photographs, and Video, 1961-2008. P.3 55

17

‘Reduced to monochrome, Eggleston’s designs would

of the first successful colour images produced was,

be in fact almost static, almost as blandly unresolved

mundanely, of a young boy pushing a shopping cart. In

as the patterns seen in kaleidoscopes, but they are

looking at the image, it’s clear that its warming colour

perceived in colour, where the wedge of the purple

separates it from the nature and feel of traditional

necktie, or the red disk of the stoplight against the sky,

monochrome work, better depicting the subject

has a different compositional torque than its equivalent

matter and providing an emotional effect. One that

panchromatic grey, as well as a different meaning’.

simultaneously adds a perception of sympathy, while

57

also conjuring notions of the American dream.58 [figure

– John Szarkowski

19]

The view from Szarkowski, articulates the use of colour

The turning point in his success with colour photography

in Eggleston’s work and the visual benefits associated

would be his discovery and subsequent uptake of dye

with it when utilised effectively. While he had been

colour transfer methods in 1972. Developed by Kodak,

experimenting, with mixed results, using chromatics in

the final image was transferred to paper in a succession

his photography since the mid-1960s, having overcome

of three separations of colour, thus allowing greater

technical difficulties, he swiftly achieved results. One

flexibility in altering individual colours without altering the overall complimentary colour of the image. This method of artistic control is a key factor in Eggleston’s success, bringing a masterful, visual quality to his work; leading to him holding the first photographic exhibition in colour at the Museum of Modern Art, New York.59 His use of colour can clearly be seen in his image of a lightbulb; echoing the monochrome style, the image is dominated by tones of vivid red, once again expressing an emotional reaction. Its skewed angle upward towards

Figure 19: Eggleston, William. 1965. Untitled.

The addition of colour can provide an emotive effect as shown here; adding a warming effect, that would otherwise be lost if captured in monochrome.

Figure 20: Eggleston, William. 1973. Untitled.

Demonstrating the separation of form and colour, it could be noted in this case that the tonalities of red become the form, dominating the perception of the image.

57

Eggleston, Szarkowski, and Museum of Modern Art. William Eggleston’s Guide. P.12 Sussman et al. William Eggleston : Democratic Camera, Photographs, and Video, 1961-2008. P.6 59 Sussman et al. William Eggleston : Democratic Camera, Photographs, and Video, 1961-2008. P.11 58

18

the ceiling and mundane subject of the lightbulb is likened to seeing the perspective from a fly, drawn to the

Comparisons

light of the room by curator Mark Holborn. He continues, regarding the colour of the image as if the ‘ceiling was

The key argument for the preference of monochrome

bleeding’. The colour also has further implications in

imagery over colour is the striking form giving nature,

regards to perception; the sexual graphics in the bottom

achievable through the honed skill of the photographer;

corner are heightened psychologically by the colour

working within these values, the development is highly

red. This emotive response to the image can be seen as

controlled, a technical exercise as much as an artistic

a result of colour, the emotive effect hinting at a deeper

endeavour. While this process for developing an image

meaning. However Eggleston has subsequently resisted

in black-and-white offers flexibility and in many aspects

these interpretations, noting that his sole aim was to

creative artistry, the process for developing colour is

create a visual event, explaining that the ‘colours are

substantially more technical and absolute, limiting

not qualities of things, but rather parts of a pictorial

the level of control achievable. A current, digital,

logic’.60 [figure 20]

comparison to the developing process of the analogue black-and-white imagery would be that of Photoshop, offering photographers of the format a tactile canvas.

The lack of control of colour wasn’t just limited to the developing process; capturing a colour image outside of an interior studio environment proved just as frustrating, leading to, at least outside of publication, a return to monochrome.63 The uptake of colour could be seen as a different form

Figure 21: Eggleston, William. Untitled. 1996 Dye Transfer

of photography altogether, with the effects of exposure

Szarkowski expresses doubts when Eggleston would

and prior techniques being re-evaluated, the major issue

state the nominal subjects of his pictures were no more

being as highlighted earlier, seeing form and colour as

than a basis for crafting colour within his photographs.

separate entities, the sky and the blue, with the colour

However, it is notable that throughout his work, he had

needing to be solved. Colour photography would not

a clear priority of colour over form or subject matter;

truly rival monochrome until the two aspects were seen

capturing snapshots of mundane objects generating

as one; seeing as in the real world, the sky as being

images with strong emotive effect and visual appeal.

blue.64 [figure 22]

With his uptake of new methods of colour production through the use of dyes, he pushed the medium of

‘What makes his photographs of non-events so

colour photography forward, achieving an artistic

meaningful is his use of colour to convey the

based presentation of a depicted form through colour

‘feel’ of a particular place. He emphasises hues

photography; the success of his work being that the

that soak the scene or resonate in a critical way,

colour was able to produce its psychological effect.

virtually creating effects of sound, silence, smell,

62

60

Sussman et al. William Eggleston : Democratic Camera, Photographs, and Video, 1961-2008. P.13 Eggleston, Szarkowski, and Museum of Modern Art. William Eggleston’s Guide. P.5 62 Sussman et al. William Eggleston : Democratic Camera, Photographs, and Video, 1961-2008. P.11 63 Eggleston, Szarkowski, and Museum of Modern Art. William Eggleston’s Guide. P.8 64 Eggleston, Szarkowski, and Museum of Modern Art. William Eggleston’s Guide. P.9 61

19

temperature, pressure – sensations that black-and-

reference the two forms of photography as separate art

white photography has yet to evoke’.65

forms that can only be compared within the context of the artist’s own work.66

– Shaun Callahan

The use of monochrome over colour is an artistic choice

The view from Shaun Callahan, regarding Eggleston’s

and preference, based on the style of the photographer. In

MoMA exhibition captures the success of his work,

looking at the two forms, Cartier-Bresson and Eggleston

while also demonstrating the advantages colour can have

can be compared. While both working effectively in

over the monochrome image. His view is in support that

street photography, their work utilises monochrome

while monochrome photography can strikingly express

with colour respectively, the comparison resides in the

forms and display depth and shade, it can’t provide the

focus either being that of form or that of colour; both

emotive effect and in some case visual appeal of colour

can provide strong visual appeal and convey emotion,

photography. That is not to say that colour photography

both at the skill of the photographer.

is better or worse however than monochrome, the two mediums are different means, applicable to different ends, notes photographer Guy Tal, continuing to

Figure 22: Eggleston, William. Untitled. 2001 Form and colour were considered largely in separation, colour photography would not become a viable alternative to monochrome until the two were seen as one, such as the sky and the blue.

65 66

Sussman et al. William Eggleston : Democratic Camera, Photographs, and Video, 1961-2008. P.13 Guy Tal. “Obsession, Joy, and Torment” Lenswork 119, (2015): 205-209.

20

Architectural Photography ‘My wife used to say: “After all, it’s only a glass box

by photographers of the era; Julius Shulman and Ezra

with two girls in it”. But somehow that one scene

Stoller being the leading figures in the profession.

expresses what architecture is all about’67

When comparing the characteristics of monochrome photography with colour, there is a clear relationship

– Julius Shulman

between the modern architectural styles of the era, with the form giving materiality, creating strong tonal properties within monochrome photography.

Having examined the role of photography in our memories, its role within the field of architecture

Julius Shulman

and our perception of it should now be explored. We interact with and experience architecture throughout

An influential figure in architectural photography,

our lives; not only does it form a backdrop; it provides

notable for working largely in monochrome, but also

our most basic human need, shelter. Buildings were

in colour, is Julius Shulman. Utilising modernist

generally photographed in a sculptural and standalone

architecture as a canvas, his work emphasises the form

manner in the 1970s; whereas more recent architectural

giving nature of the style, with its heavy use of glass,

photography has seen predominance in grounding

patios and water, crafting a domestic atmosphere with

structures in their urban surroundings. This change in

his signature inclusion of inhabitants. This simplistic

values will be explored in the context of evaluating the

style advertised the allure of a new form of modern

benefits and appeal of monochrome photography over

living, a key aspect of architectural photography of the

colour.

era as of the photographer themselves. Shulman has

‘The persuasive influence of past photographers have

been credited by Brian Dillon as inventing a mode of

not only shaped the way their contemporaries viewed

architectural photography that is inseparable from the

the architecture of their period , but also continue to

Californian Modernism of the 195Os and 60s.69

influence the way we see it today’.68

The product of the two mediums form a visually appealing and celebrated union in Shulman’s widely

– Robert Elwall

regarded 1960 image of Pierre Koenig’s Case Study The view from Elwall serves as a worthy observation

House No. 22, one of a series of houses developed by

on the period of photography and architecture during

architect Richard Neutra as a means of showcasing

the 1960s and 70s. Our view of that time, at least in

the social benefits and possibilities of low-cost living.

architectural terms, is defined by the images captured

The impact of this photograph was profound, fully

67

Collin Martin. “ARCHITECTURE UNDER THE SHUTTER.” Architecture New Zealand no. 2 (2015): 87-88.

Elwall, and Royal Institute of British Architects. Building with Light: The International History of Architectural Photography. P.8 69 Brian Dillon. “Julius Shulman.” Art Review no. 10 (2007): 94-99.

68

21

strong use of geometry compliments the architecture of the period perfectly, with the modernist focus on blending the exterior to interior providing striking differences in tone and materiality within an image.

Shulman’s work is noted as ‘paradigmatic in proving how architectural photography is a means for constructing a visual order’.71 Going further than merely documenting the building, the core role of the architectural photographer, Shulman utilises principles of visual perception, creating ‘geometrical relationships and alignments of elements’, presenting his audience with a viewport into the space, relaying the experience of the architecture within a striking, appealing image.72 With this view, it can be seen that his utilisation of perspective is at the core of the architectural quality of Figure 23: Shulman, Julius. 1960. Case Study House #22, Los Angeles Utilising the modernist architecture as a canvas, Shulman creates a one-point perspective of the inhabitants of the interior, above the sprawling exterior of Los Angeles.

his work, bringing a visual order, perhaps even more beneficial than the monochrome format; which in many

expressing and transforming Koenig’s experimental

respects with its sole reliance on tone, places sole focus

case study movement into a visual icon, while rendering

on form.

Shulman a key player in architectural photography at the time.

Two casual women, the girlfriends of two of the architects, appear to hover over the Los Angeles basin within a glass box of the modernist structure. The contrast between the impressive backdrop and the atmosphere of the interior, almost defines the modernist architectural

movement,

highlighting

Shulman’s

success.70 [figure 23] One key aspect that gives many of Shulman’s works Figure 24: Shulman, Julius. 1947. Kaufmann House. California Further utilising the use of one-point perspectives, the blurred distinction to interior and exterior is captured with the scenic landscape acting as a backdrop to the modernist architecture. The monochrome format adds a visual simplicity the form, the perspective formed.

striking visual appeal is his strong reliance and conformity to one-point perspectives, presenting the architecture in a manner similar to that of a traditional perspective drawing. The image from Richard Neutra’s Palm Springs is a further example of the visual structure at the core of his most celebrated photographs. This 70

Visual Acoustics: The Modernism of Julius Shulman. DVD. Eric Bricker. (2009) 00:26:00 Julius Shulman, and Pierluigi Serraino. Modernism Rediscovered. (London: Taschen, 2000). P .7 72 Shulman, and Serraino. Modernism Rediscovered. P .7 71

22

Ezra Stoller Monochrome

photography

had

another

leader

throughout the period with Ezra Stoller, one that focused solely on capturing architecture. While Shulman’s work can be generalised in relying on one-point perspectives for dramatic effect, the focus of Stoller’s work is the tonality of the sky and the relationship it shares with the building. A prevalent figure, he is known for working on more than 3500 projects, often capturing a building in an abstract way, giving way to architecture being referred to as ‘Stollerised’. The usage of this phrase highlights the creative vision he brought to a project,

Figure 26: Stoller, Ezra. 1970. John Hancock Centre, Chicago.

Demonstrating the sculptural, form- giving appeal of monochrome; the image highlights the architecture success of Stoller, capturing the building in striking tones and depth beneath the tonality of the sky.

while at the same time capturing the structure, function and materiality of the building.73

Helene Binet In exploring the appeal of monochrome over colour, a relevant example in current day architectural photography is Helene Binet, an individual who continues the use of analogue photography methods, avoiding the transition into digital technology.

‘If you’ve spent five years to ten years making a building, you want to make sure that the photos are like a building and not like a rendering’.75

Figure 25: Stoller, Ezra. 1939. World’s Fair Pavilion, New York

When viewed alongside his contemporaries, namely

– Helene Binet (2015)

Shulman, Stoller had the gifted advantage of having

Her view on expressing the physicality and reality of

studied architecture, a deep rooted understanding of his

architecture is paramount in the current landscape,

subjects and the essence of the building he captured.

bringing forward the relevancy of an architectural

Rather than attempt to document the building in a single

photographer when architects can ‘sell’ their designs

image, he utilised an entire shoot creating, as referred

through CAD software and photorealistic visualisations.

to by design editor and writer Saunders, “one true story

Binet refrains from the use of digital work, precisely due

wholly: the real ideal of the building”; this process

to the fact that the analogue medium is less advanced and

gives credence to the idea of Stoller being his client, the

‘rougher’. Shooting in this format allows her to achieve

architect’s, ‘servant’. This description articulates the

a sense of realism and materiality that can be lost. While

74

architectural success of his work.

73

Nina Rappaport, Erica Stoller and Ezra Stoller. Ezra Stoller, Photographer. (New Haven: Yale University Press, 2012). P.7 Rappaport, Stoller, and Stoller. Ezra Stoller, Photographer. P.13 75 “Helene Binet Interview”. 2015. http://www.dezeen.com/2015/03/23/helene-binet-interview-analogue-architectural-photography-film-fragments-of-light-exhibition-wuho/ 74

23

digital photographers can edit their work, damaging the realism in many respects; Binet is forced by the analogue format to perfect the image before opening the shutter, capturing the moment and celebrating any imperfections.76 Greatly influenced by the work of Lucien Hervé , and working with renowned architects such as Zaha Hadid and Daniel Libeskind, Binet’s work consistently emphasises the relationship between form and light, crafting images, often abstract in nature, that express the benefits of traditional monochrome over the use of colour. [figure 27-28]

Iwan Baan Conversely, the use and appeal of colour within photography can be seen currently through Iwan Baan.

Unlike in the 1970’s, where architectural photography complemented the striking, sculptural masses of the modernist buildings; recent trends populate the

Figure 27: Binet, Helene. 2007. Le Corbusier, Saint-Pierre, Firminy

buildings with humanism and elements from the urban surroundings, benefitting through colour. Utilising advancements in technology, namely the use of aerial drones with his aim being to capture his buildings in a truthful, urban environment, his reliance on new methods of photography, unlike Binet, gives him greater flexibility due to lighter and more manageable equipment. Echoing the snapshot style of street photographers Cartier-Bresson and Eggleston, Baan is able to capture brief moments of humanism, the interactions with the architecture, swiftly and effectively.

Returning to the theme of truth, rather than presenting the architects vision, a standalone monument, his work attempts to “create a story of the building and around its context”. Whereas, due to the nature of the profession, architectural photographers strive to present a client’s Figure 28: Binet, Helene.1997. Daniel Libeskind. Jewish Museum Extension. Berlin.

The work of Helene Binet effectively highlights the continued appeal of the monochrome image. Her work focusses on the physicality of the building, of its material choices and interacting with light. If considering photography in the terms of form and colour, her work places full emphasis on form, grounding the architecture in reality.

76

work in the best possible way, Bann puts the urban context and experience of the building above all else, believing that a ‘building can also look great when it’s

“Helene Binet Interview”

24

Figure 29: Baan, Iwan. 2013. Makoko Floating School, Nigeria

pouring with rain’.77

shadows that give monochrome photography its artistic edge, but more about urban context and the human

Baan’s work and ideas on photography truly lend

relationship to the architecture.

themselves to being presented in colour as his output consists less of the striking forms and subsequent

Appeal of Monochrome The addition of chromatic elements could be seen to have a profound impact on the overall effect of the image, impacting the tone and feel of the architecture.

In evaluating the use of colour, the work of Shulman and Stoller can be reconsidered.

Comparing a colour version of Shulman’s Case Study House no. 2, the impact is altered; the building itself, namely the sofa, becomes the dominant centre of focus,

Figure 30: Baan, Iwan. 2006. The Institute of Contemporary Art. Boston The image highlights the need for colour within architectural photography. In capturing the lecture theatre, a key architectural detail was the view down to the water; an aspect of the design that would have been lost in monochrome.

77

rather than the sprawling nightlife of the distant LA. The colour image renders the night sky with a purple

“Iwan Baan Interview”. 2014. http://www.architectural-review.com/rethink/interview-with-photographer-iwan-baan/8660201.fullarticle

25

haze, whereas stripped of this colour, the modernist dream is heightened, with the inhabitants looking out onto a potentially deserted city. The monochrome truly adds to the scale, shadowing the inhabitants with the vast city scape below; in doing so adding a potentially sinister, dreamlike edge to the image.78 [figure 31] These two versions of the same scene are beneficial to the question of the appeal of monochrome photography.

As shown, the reliance on black-and-white notably gives a more striking and visually interesting image, evidenced in many respects by the pictures subsequent appeal. The lack of colour gives the image’s dominant focus to its subject matter, capturing a moment in time, ‘frozen for eternity’.79 Being closely linked to architectural publications, Stoller’s experimentation in colour photography evolved at the same pace; colour being non-existent in the 1940s, to being a widespread medium after the 1960s.

Because of his connection to publication, his work is relevant in exploring the appeal that the simplicity of monochrome can have over colour; both the differences depicting the architectural experience, as well as at an artistic level. Two of Stoller’s photographs taken of the TWA terminal in 1962 illustrate the differences in regards to capturing architecture; how the addition of colour can have a dominating effect, one that should be controlled by the photographer to avoid distraction from the form of the subject. The choice of the better image in terms of visual splendour is subjective, but the choice for the better representation of architecture lies with the photographer, who took both versions and experienced the building first hand. [figure 32]

Figure 31: Shulman, Julius. 1960. Case Study House #22, Los Angeles The perception of the scene and of the architecture are notable different when seen in colour. While in colour, the furniture can be seen as dominating, the appeal of monochrome lies in the focus in form and depth.

78 79

Dillon, “Julius Shulman.” P.96 Dillon, “Julius Shulman.” P.96

26

Figure 32a: Stoller, Ezra. 1962. TWA Terminal

Figure 32b: Stoller, Ezra. 1962. TWA Terminal

the time.82

Chromatic Values in Architecture

In taking these two contemporary architectural

‘The truth concerning the elusive depth dimension

photographers, Baan and Binet, it’s clear that the benefits

involved in dynamic architecture defies the

of working in monochrome are fundamentally linked to

camera’.80

the particular skill and style of the photographer, as well as to the subject matter; equally as the use of colour,

– Frank Lloyd Wright

befits the humanism of Baan’s work, the lack thereof

Wright’s view of photography being unable to effectively

befits the striking tonal output from Binet. Comparing

render the depth of spaces within architecture has key

the two individuals, the work of Binet can be seen as

significance as regardless of technological advances or

a more practical approach; in many ways highlighting

artistic skill, the third dimension is always lost when

how advances in technology have taken away the

condensing an experience into a visual image. Although

practical nature of the medium, decreasing the skill

our natural experience of the world is in chromatic

required.83 This loss of practicality can be seen in the

values, this condensation to a two-dimensional form

work of Baan, utilising drone technology, removing

can ultimately be less visually appealing than an image

him from the first-hand experience, as well as in the use

purely in monochrome.

of digital editing and developing over that of analogue, dark room editing.

On the contrary however, regarding monochrome photography of the 1970’s, Michael Rothenstein

‘Modern architects of the mid-twentieth century

comments on our perception of the architecture and

conceived and executed their work largely in

society of the time as being ‘deficient in chromatic

neutral tones. But occasionally, inherent colour was

values’. This view has wide appeal, with the modernist

essential to the character of the work’84

81

architectural movement misrepresented as entirely

– John Morris Dixon

monochrome; due to the architectural photography of 80

Elwall, and Royal Institute of British Architects. Building with Light: The International History of Architectural Photography. P.90 Kim Beil. “The Myth of Black and White Modernism: Color Photographs and the Politics of Retrojective Looking.” Visual Resources: An International Journal Of Documentation 31, no. 3/4 (2015) P. 127 82 Beil. “The Myth of Black and White Modernism: Color Photographs and the Politics of Retrojective Looking.” P. 127 83 “Helene Binet Interview” 84 Rappaport, Stoller and Stoller. Ezra Stoller, Photographer. P.26 81

27

Following the view of Dixon, it can be said then that

documentation, the use of colour is based on the subject

with regard to the capturing of architecture, the use

and skill of the photographer, but in terms of beauty, or

of colour is a skill, used poorly, the use of colour can

visual splendour, the preference is entirely artistic and

distract from the form, a vivid green carpet can become

subjective; if the role of the architectural photographer

the focus over the enclosure of the space for instance,

is to ‘sell’ architecture, a visually appealing image is

but used effectively, a blue sky for a further example

paramount.

can enhance the composition of the piece.

85

In terms of

Figure 33a: Stoller, Ezra. 1977. Salk Institute for Biological Research.

California

85

Figure 33b: Stoller, Ezra. 1977. Salk Institute for Biological Research.

California

Rappaport, Stoller and Stoller. Ezra Stoller, Photographer. P.26

28

Conclusion ‘Even though our thoughts and our memories

Linked

with

interpretation

and

concluding

the

change, we change, the perspective through which

exploration into perception, the ideas of truthfulness

we look at the world changes, there is the thought

and nostalgia are relevant. While monochrome offers a

that photography partially takes us outside of

more interpretive image, it is not a truthful capturing of

ourselves. That it gives us a glimpse – even though

life, a life of colour, particularly in regards to the notion

it may be only of a two-dimensional representation

that photography be a true ‘account’ of space. It can

– of something real’.86

be noted that the appeal of the black-and-white image has a basis in the slow technological advancements

– Errol Morris

and experimental processes in developing colour, the expensive nature of the chromatic alternative furthered its appeal. Since the uptake of colour was initially only in

At the core of understanding the appeal of the

publication, the continued use of monochrome was not

monochrome image over colour are individual

only cheaper, but an artistic option for photographers;

interpretations; the visual perceptions of the captured

while colour had once been a creative alternative, the

image. Having explored the effect of colour, tone and

artistry had now reversed, a factor fully supporting

Gestalt principles, it is seen that just as the photograph

monochrome’s appeal.

is an interpretation of a given subject matter, individual perception is subsequently utilised when viewing

In assessing the appeal of monochrome in photographic

the produced image. Taking this into account, the

practice, it can be understood that, on an artistic level

preference for monochrome, with its simplicity and

at least, its use and visual appeal is inexplicably linked

focus on form and depth, allows the mind to bring

to its audience’s subjective opinion, as well as the

life to its two dimensional form, crafting ‘something

photographer’s creative decisions.

real’.

87

This simplicity in form provides accessibility

Its role in documentation, in capturing architecture,

to monochrome work, supporting its continued use and

the appeal of the monochrome format again is less

appeal. Highlighted with the distinction of form and

subjective and linked primarily to the subject and form.

colour, while colour has the added benefit of triggering

It can be said that the use of colour photography is more

emotional responses, the success of this relies on the

truthful, with colour and materiality being captured,

skill of the photographer and the subject matter, further

however beyond this, rather than showing the building

supporting the appeal of the traditional monochrome for

as a sculptural stand-alone vision, as imagined by the

its striking form giving properties.

86 87

architect, the building is grounded in reality. Ultimately,

Errol Morris. Believing Is Seeing: Observations on the Mysteries of Photography. (New York: Penguin Press, 2011) P.273 Morris. Believing Is Seeing: Observations on the Mysteries of Photography. P.273

29

the role of architectural photography is to show the

Returning to the perspective of Elwall, he notes the

building at its best, and undistorted; with the client

evolving relationship of monochrome to colour viewed

wanting their building in true form, colour, regardless

in parallel with the passage of time; supporting the

of the artistic aims of the photographer.

notion that the appeal of the monochrome image over that of colour was due to its artistic possibilities, its

‘The dominance of colour has not only confirmed

alternate choice to the increasingly dominant uptake of

the status of black-and-white as the medium of

colour. While the use of colour provides a more truthful

documentary authenticity, but also paradoxically as

account of reality, the artistic appeal of monochrome

the primary vehicle for artistic expression’.88

lies in the medium’s departure from it.

- Robert Elwall

Figure 34: Stoller, Ezra. 1962. TWA Terminal

88

Elwall, and Royal Institute of British Architects. Building with Light: The International History of Architectural Photography. P.198

30

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Illustration Credits Title Page Image – Authors own image. 2013. Barcelona, Spain Figure 1 - http://www.colormatters.com/color-and-design/basic-color-theory (Accessed 22/11/15) Figure 2 - Itten, Johannes. The Art of Color: The Subjective Experience and Objective Rationale of Color. New York: Van Nostrand Reinhold, 1961.P.36 Figure 3 – Mondrian, Piet. 1920. Oil Paint Taken from http://www.piet-mondrian.org/composition-c.jsp (14/02/16) Figure 4 - Itten, Johannes. The Art of Color: The Subjective Experience and Objective Rationale of Color. New York: Van Nostrand Reinhold, 1961.P.48 Figure 5 - http://www.intropsych.com/ch04_senses/gestalt_psychology.html (Accessed 05/12/15) Figure 6 - http://eyediologyopticians.co.uk/pages/Optical-illusions.html (Accessed 23/11/15) Figure 7 - http://eyediologyopticians.co.uk/pages/Optical-illusions.html (Accessed 23/11/15) Figure 8 – Thompson, Cole. 2008. Auschwitz 14. Poland. Taken from http://www.colethompsonphotography.com/ Ghosts.htm (Accessed 11/01/2106) Figure 9 – Kühn, Heinrich. 1908. Still life with violets. Autochrome. Taken from Museum for German and Austrian Art, New York. www.neuegalerie.org/exhibitions/items/2051 (Accessed 13/02/2016) Figure 10 - Kühn, Heinrich. 1912-13. Edeltrude and Lotte. Autochrome. Taken from Museum for German and Austrian Art, New York. www.neuegalerie.org/exhibitions/items/2051 (Accessed 13/02/2016) Figure 11 - Eggleston, William. 1972. Untitled. Taken from Eggleston, William. 2 1/4. Santa Fe, N.M. Twin Palms Publishers, 2003.

Figure 12 - Bailey, David. 1965. England. Taken from http://collections.vam.ac.uk/item/O92674/david-baileys-boxof-pin-photograph-bailey-david/(Accessed 11/01/2016) Figure 13 -Bailey, David. 1984. England. Taken from http://theredlist.com/wiki-2-24-525-527-763-view-1970s-2-profile-jack-nicholson.html(Accessed 11/01/2016) Figure 14 - Cartier-Bresson, Henri. 1973. Guard of Honour. Taken from Cartier-Bresson, Henri, Clair, Jean, and Hayward Gallery. Henri Cartier-Bresson: Europeans. London: Hayward Gallery, 1998.

Figure 15 – Cartier-Bresson, Henri. 1952. Pamlona Spain. Taken from Cartier-Bresson, Henri, Clair, Jean, and Hayward Gallery. Henri Cartier-Bresson: Europeans. London: Hayward Gallery, 1998.

Figure 16 - Picasso, Pablo, 1904-05. The Actor. Taken from Cartier-Bresson, Henri, Clair, Jean, and Hayward Gallery.

Henri Cartier-Bresson: Europeans. London: Hayward Gallery, 1998.

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Figure 17 - Cartier-Bresson, Henri. 1933. Seville, Spain. Taken from Cartier-Bresson, Henri, Franck, Martine, Sire, Agnès, Frizot, Michel, and International Center of Photography. Henri Cartier-Bresson Scrap Book : Photographs 1932-1946. London]: Thames & Hudson, 2007.

Figure 18 - Eggleston, William. 1996. Black Bayou Plantation. Taken from Eggleston, William, Szarkowski, John, and Museum of Modern Art. William Eggleston’s Guide. Second ed. New York: Museum of Modern Art, 2002.

Figure 19 - Eggleston, William. 1965. Untitled. Taken from Sussman, Elisabeth et al. William Eggleston : Democratic Camera, Photographs, and Video, 1961-2008. New York: Munich: Whitney Museum of American Art, 2008.

Figure 20 - Eggleston, William. 1973. Untitled. Taken from Sussman, Elisabeth et al. William Eggleston : Democratic Camera, Photographs, and Video, 1961-2008. New York: Munich: Whitney Museum of American Art, 2008.

Figure 21 - Eggleston, William. 1996. Untitled. Dye Transfer. Taken from Chandès, Hervé, Eggleston, William, and Fondation Cartier. William Eggleston. London: Thames & Hudson, 2002 Figure 22 - Eggleston, William. 2001. Untitled. Taken from Chandès, Hervé, Eggleston, William, and Fondation Cartier. William Eggleston. London: Thames & Hudson, 2002.

Figure 23 - Shulman, Julius. 1960. Case Study House #22, Los Angeles. Taken from http://www.getty.edu/art/exhibitions/shulman/(Accessed 12/11/15) Figure 24 - Shulman, Julius. 1947. Kaufmann House. California. Taken from http://www.archdaily.com/29457/julius-schulman-1910-2009 (Accessed 15/02/2016) Figure 25 - Stoller, Ezra. 1939. World’s Fair Pavilion, New York. Taken from Rappaport, Nina. Stoller, Erica, and Stoller, Ezra. Ezra Stoller, Photographer. New Haven: Yale University Press, 2012.

Figure 26 - Stoller, Ezra. 1970. John Hancock Centre, Chicago. Taken from Rappaport, Nina., Stoller, Erica, and Stoller, Ezra. Ezra Stoller, Photographer. New Haven: Yale University Press, 2012.

Figure 27 – Binet, Helene. 2007. Le Corbusier, Saint-Pierre, Firminy. Taken from http://uk.phaidon.com/agenda/photography/articles/2014/september/04/helene-binet-s-trip-through-time/ (Accessed 13/02/2016) Figure 28 - Binet, Helene.1997. Daniel Libeskind. Jewish Museum Extension. Berlin. Taken from Binet, Hélène., and Bunschoten, Raoul. A Passage through Silence and Light. London: Black Dog Pub., 1997.

Figure 29 - Baan, Iwan. 2013. Makoko Floating School, Nigeria. Taken from http://iwan.com/photo_Makoko_Floating_School_Lagos_Nigeria_NLE_Kunle_Adeyemi.php (Accessed 14/02/2016) Figure 30 - Baan, Iwan. 2006. The Institute of Contemporary Art. Boston. Taken from http://iwan.com/photo_Boston_Institute_of_Contemporary_Art_Diller_Scofidio+Renfro.php (Accessed 14/02/2016) Figure 31 - Shulman, Julius. 1960. Case Study House #22, Los Angeles. Taken from http://www.shorpy.com/ node/6514?size=_original(Accessed 9/11/15) Figure 32 - Stoller, Ezra. 1962. TWA Terminal. Taken from Rappaport, Nina., Stoller, Erica, and Stoller, Ezra. Ezra Stoller, Photographer. New Haven: Yale University Press, 2012.

Figure 33 - Stoller, Ezra. 1977. Salk Institute for Biological Research. California. Taken from Rappaport, Nina. Stoller, Erica, and Stoller, Ezra. Ezra Stoller, Photographer. New Haven: Yale University Press, 2012.

Figure 34 – Stoller, Ezra. 1962. TWA Terminal. Taken from http://ezrastoller.com/ezra/portfolio/twa-terminal (Accessed 17/02/16)

34