DG - Abstract Nature - Candidate Number 3048 - 46725 – PGHS

DARCY GOULDING GCSE PHOTOGRAPHY HOME

COMPONENT 1

Abstract Nature Personal Project 1

ABSTRACTION Abstract photography is a genre that incorporates different aspects of subject matter and combines them with the idea of abstract, creating a unique photograph. Abstract photographs usually don't have a clear focal point or subject. There are no rules, meaning everything goes! This style can range from macro to landscape as anything could be seen in an abstract way, it all depends on the meaning or emotions the photographer wants to convey. We call this type of photography non-objective or experimental. Abstract photographs can be rich in texture and show dramatic lighting alongside a variety of colours. For me, abstract photographs that give off gentle and warm colours brings the feeling of warmth and happiness as they are easy to look at and tell a story. Some images are calming and subtle and some portray the feeling of sadness and/or loss. To conclude, abstract photography can have many different meanings and forms, but they all fit into the same genre. ​

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ELEMENTS AND PRINCIPLES OF DESIGN ​In total there are 7 Elements of Photography (line, shape, colour, tone, texture, space, form) and 7 key Principles of Design (balance, emphasis, movement, pattern, repetition, proportion, rhythm, variety and unity), but for the purpose of this project, I have only identified 4 elements and 2 principles of design. The purpose and meanings of the elements and principles are listed below.

4 ELEMENTS OF DESIGN

​LINES Lines in photography help bring the viewers attention to a certain place in the image. Lines can also highlight the rule of thirds and define different textures on a photograph.

Another way lines benefit an image is that they create contrast in the image, making it seem uneven and abstract.

​ HAPES S Shapes can range from being very geometric (buildings, manmade objects), to being very organic and irregular.

In abstract nature, we're going to be looking at the organic side, as nature doesn't create straight lines, nor does it follow a certain pattern.

TEXTURE Texture can be used to document interesting patterns, consistency and surface of different objects.

Texture creates many different types of imagery - there are many different types of texture, such as: smooth, sticky, rough, gritty, bumpy, etc.

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​ OSITIVE AND NEGATIVE SPACE P ​Positive space is when lines/objects in the foreground cut the background into smaller pieces.

Negative space is when the background is displaced by the subject in the foreground.

Space is very important, even in abstract photography.

​2 KEY PRINCIPLES OF DESIGN Although only 2 are listed, there is more principles of design. Here are two of my favourite:

​ EPETITION R This occurs when lines, shapes, colour or objects are repeated, creating a feeling of rhythm.

Repetition can be anywhere - it could be the bricks of your house or a line of trees or a grouping of chairs.

Repetition usually incorporates negative and positive space.

​ ONTRAST C ​Contrast is when visual opposites appear in an image. This could be opposites in colour or in meaning.

For example - black and white are examples of contrast, an image of snowy weather with a hammock in the foreground of the image.

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​N ATURAL FORMS PHOTOSHOOT For my first investigation, I have chosen to look at the texture within nature. Here are 12 images where I try to emphasise the different textures in nature.

INVESTIGATION OF ELEMENTS - PHOTOGRAPHY SHOOT For my shoot, I used my Sony a6100 mirrorless camera with a 55mm-210mm lens, I decided to use this lens as it was better suited for close-up shots. I used a tripod to stabilise my shots. My f-stop stayed between f/5.6 and f/6.8. Most of my photos were taken at 1/250 shutter speed and the others were taken at 1/160. My photos were taken in full RGB colour and then moved into Adobe Lightroom and made into monochrome. The photos were taken indoors with natural sunlight shining on the plant - on some photos, i distorted some of the light to create gaps in the sunlight. The photos were mostly taken from eye to torso level as I was using a tripod.

When using black and white, it really highlights the whites and blacks, creating depth and unusual shapes.

CONTACT SHEET

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FINAL IMAGES

IMAGE EVALUATION ​ his image is successful as it has the key element of repetition, T with the intriguing pattern of the unique plant highlighted by the backlight. The deep black of the background gives the image an overall depth. The composition, using the rule of thirds, is focused on the centre of the image, gradually drawing the viewers eye around the image. I also believe this image is successful due to how abstract the original plant is on its own, paired with the backlight and the shallow depth of field, it creates a rather beautiful image.

​I believe this image was successful in some aspects. The clear change in species of plant is the first thing to stand out, they look as if they were clearly separated by a diagonal line. The faint water droplets add natural texture to the photograph. However, the blacks could have been enhanced to create a deeper and darker image, adding more layers of depth. The emphasis on the water droplets could have also been enhanced by upscaling the whites. In conclusion, this image had potential, but in hindsight, I would have edited it differently.

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​Finally, I believe this image was one of the most successful images due to the texture the image portrays. The sudden change from light to dark adds depth to the image and naturally brightens the highlights. The composition could have been better and could lie closer on the rule of thirds. I also like how the shadows fall on the plant leaves as the lines are very sharp and clean. Overall, there are a few things I would change, but considering everything, I am happy with this photograph.

EDWARD WESTON - ARTIST INVESTIGATION "My true program is summed up in one word: life. I expect to photograph anything suggested by that word which appeals to me."

Edward Weston

Why this artist?

To begin my Abstract Nature photography project, I am studying Edward Weston. I decided to go with Weston because he presents the topic of 'abstract nature' very well and I am inspired by his still lifes.

Who are they?

Edward Weston was a 20th century photographer and is said to be one of the most 'innovate and influential American photographers...'. He was born on March 24th, 1886 in Highland Park, Illinois. Over the course of is 40 years of work, he experimented with many different genres of photography, including portrait, landscape, nudes, still life and even scenes. He died on January 1st, 1958 in Carmel Highlands, California at the age of 71.

Why this quote?

I feel as if this quote captures his thoughts on photography and how he will photograph anything he sees that sparks interest in his mind.

Why this video?

This video presents his work well and shows the range of photographs he took.

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EDWARD WESTON - SEMI ANALYSIS This image is Edward Weston's 'Pepper No. 30', taken in 1930.

This genre of photography is called Still Life, a subject that Weston regularly worked in. The props in this image is a pepper and a main light source.

The composition of this photograph has a very prominent subject in the foreground and a very dull and black background.

You could say that the rule of thirds has been used as the focal point is in the centre of the image. The oddity of the peppers form leads the viewers eye around the images. The way the main light wraps and shines on the pepper really extenuates the curves and interesting folds of the pepper. The secondary light reflects on the pepper too, highlighting the left side of the pepper. This secondary light gives depth to the image and adds to the artwork as a whole. Where there is light, there is shadow - shadows are a big part of the image too. The background is mostly black, contrasting the natural forms of the pepper. The shadows of the pepper also bring out the true shapes of the pepper.

Weston used film to create this photograph. We can emulate this process by using a camera with a black and white filter. We can then further edit this image using Pixlr to define the highlights and detail of the pepper.

I believe Weston was attempting to show how natural forms can be very similar to human features as the pepper looks hauntingly similar to a body. This image presents a unique pepper in a very basil viewpoint, yet the message is very personal and meaningful as our own bodies are natural forms too.

SHOOT PLAN - EDWARD WESTON My shoot was inspired by Edward Weston's Bell Pepper No. 30. This shoot will be taken indoors using natural light through a window.

Props I will need to use are a chair, plant pot and a suitable fruit or vegetable. The lighting will as stated before, through a window and natural. The lighting will also be low-key. I will adjust the white balance on my camera to daylight/cloudy (depending on the days conditions of the day). I intend to shoot with my Sony a6100 using the kit lens, it will also be on a tripod in order to stabilise the shots, if I need too, I'll take it off and use it manually in order to get closer/further away. I hope on having an f/stop of f/3-5 to create a small depth of field. I'll have a fast shutter speed so the exposure isn't too high or too low.

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IMAGE EVALUATION

This image is one of my favourites from the Edward Weston inspired shoot. I really like how the highlights define the imperfections of the pepper, it adds texture to the image as a whole. The completely black background also draws your eye to the subject so you can really focus on it. I also like how the peppers curves are enhanced by the delicate shadows on the pepper. However, I feel that the highlight may be a little overexposed and harsh on the eyes.

​This image has a lower contrast than the first edit, however I do still like the overall effect. The blurred lines of the peppers stalk lead the eye through the image, bringing the eye down to the bottom right where the main subject is. I also like how the pepper continues to fade into the background further towards the background of the image. Although it's not my favourite, I still like it and find it successful in emulating Weston.

Last but not least is this image. I really like how the flash highlighted the right of the pepper, letting the left side fade into the background. The obscurity of the pepper itself also adds to the successfulness of the image as a whole. There is however a distortion in the background which escaped editing. If I were to edit this again, I would remove the slight colour distortion of the background and decrease the contrast.

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ANNA ATKINS - ABSTRACTION THROUGH CYANOTYPES "The difficulty of making accurate drawings of objects so minute as many of the Algae and Confervae has induced me to avail myself of Sir John Herschel's beautiful process of Cyanotypes, to obtain impressions of the plants themselves, which I have much pleasure in offering to my botanical friends."

Anna Atkins

Why this artist?

I chose to focus on this artist because her version of abstraction is very unique and very beautiful to look at. I also like how she was the first woman to create a photograph, inspiring future generations to be creative just like her. ​Who are they? ​Anna Atkins was an English botanist and a photography who lived from 1799-8171. She is considered to be the first person to publish a book containing photographic images. Some sources claim she was the first woman to create a photograph. ​Why this quote?

I chose this quote as I believe it shows her love and interest in cyanotypes and respect for her colleagues, something very respectful. ​ hy this video?

W I personally believe that this video brilliantly represents the beauty of Atkins's artwork and presents her life and story in an easy-to-understand way. I also think it displays some of her best artwork and shows her incredible skill for cyanotypes.

Here are the cyanotypes I made in lesson. I really enjoyed this technical process because it shows how photographs can be created in different forms and processes. I also like how rich the blue becomes on the photo sensitive paper after leaving it to expose in the sunlight. The masking also creates imagery of falling leaves, and when contrasted with the background, looks very bold and abstract,

HORST P. HORST - THE UNFAMILIAR AND AND ABSTRACT ​Fashion photographer Horst P. Horst used rotational symmetry​to create new patterns. His book, Patterns from Nature (1946), has inspired me to create my own series of rotational symmetry patterns using my work so far. Here are some of my examples:

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These images were created by using some of my previous photographs and cropping, duplicating and moving them into place to create a nature-based edit that emulates Horst P. Horst's artwork.

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KARL BLOSSFELDT - ARTIST INVESTIGATION "Nature educates us into beauty and inwardness and is a source of the most noble pleasure."

Karl Blossfeldt

Why this artist?

I chose this artist because his artwork I love how high-key the photography is. It also relates to my theme of abstract nature. His work follows a very restful composition and draws you eye to the subject and focal point of the image. ​Who are they?

Karl Blossfeldt was a German photographer, teacher, sculptor and artist who was born in 1866 and died in 1932. He lived and worked in Berlin and is best known for his close-up photographs of plants. ​Why this quote?

I chose this quote because I feel it sums up the genre of nature photography and how photography can be interpreted. ​Why this video? ​I chose this video because I feel it presents Blossfeldt's artwork very well and goes into depth on how it was created and used. He also goes into some detail on how the images were created and what their original propose was.

SHOOT PLAN - KARL BLOSSFELDT This shoot was inspired by Karl Blossfeldt because I have been looking at how he created abstract forms from nature and I was keen to emulate his style. The shoot will take place in the classroom and at home for homework. In the classroom, I can set up a light room for high-key photography and at home, I will create a mini light room studio using a lamp and a plain background. Some props I will use will be natural forms, e.g. shells, leaves, aged flowers, as these forms are commonly seen in Blossfeldt's work. They provide good amounts of texture, line and natural form. For the majority of my images, I will be using a combination of soft boxes, LED lighting and natural ambient light. I will need to control the lighting in order to avoid shadows and contrast. I will be using my own Sony a6100 camera using the Kit lens. My camera will be on a tripod in order to stabilise my shots, I will also use a 2-5 second timer to reduce further camera shake. My high-key camera setup will be in manual with an aperture of f/22 - my images will have a large depth of field to capture all the details - and a shutter speed of 1" - allowing lots of light into the camera, meaning my final images will be highkey like Blossfeldt's. . These settings will enhance my emulation and improve my final images. Finally, I will shoot in Sepia to add an aged look to my images.

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CONTACT SHEET

EDITING PROCESS - KARL BLOSSFELDT To edit my Karl Blossfeldt images, I used the online image editing software PIXLR. When editing my images, I focused on cropping, adjusting and amending the levels of the background. Here are some screenshots from the editing process: 1. Cropping the image using the rule of thirds

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2. Using the magic wand to select and edit the background

3. Adjusting the levels of the image for the correct range of tones and contrast

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I used this process for the best 9 images from my school shoot. Here are the results:

MY EDITED OVERLAYS - KARL BLOSSFELDT ​Thanks to the free image editing software, PIXLR, I was able to explore the many uses of layers and overlays. An overlay is usually added on a new layer in order to separate the image that is being edited with the overlay image. These overlays add texture and age to the image, making it look older than it actually is. This is a technique regularly used when emulating Karl Blossfeldt, as his images are aged and have signs of wear on them.

Then, I used the layer filters 'Screen overlay' and 'Layer transparency', this made the overlay see through and gave the effect seen below. I then added subtle vignette to add to the overall feel of the image.

EXAMPLES OF OVERLAYS:

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FINAL EDITED IMAGES - KARL BLOSSFELDT

ANIMATION - KARL BLOSSFELDT

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Some of my favourite frames from the Karl Blossfeldt inspired animation:

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MY BEST EDITS - KARL BLOSSFELDT

Best Edit from Overlay Edits

Best Edit from Animation Stills

EVALUATION - KARL BLOSSFELDT When evaluating my work, I feel that I have gained a lot of experience from the Karl Blossfeldt shoots, both in and out of school.

Some skills I learnt included setting up a tripod and a sensible backdrop for my photos, choosing the correct settings for my camera, setting a timer and how to professionally edit photos using various editing software.

In school, I acquired new vocabulary and discovered how to capture different genres of photos. During Karl Blossfeldt shoots, lighting and background would be High Key and very monotone. Soft Box studio lighting would be used to create a very bright environment for photography, and in order to capture as much light as possible, the shutter speed would be around 1 second. Because of the slow speed, a timer was needed to reduce camera shake.

At home, I emulated the conditions at school to create another environment fit for taking Karl Blossfeldt inspired photos. Firstly, I used a lamp giving off warm light as the primary light source. I then replicated the settings from the school shoot and photographed a leaf.

After the two shoots, I used the editing software Pixlr. Some of the tools used to edit the photographs were cropping, vignettes, overlays and the selection tool. I also followed the rule of thirds when cropping, so my subject would remain inside the centre third.

Afterwards, I selected the subject of the photograph and turned the brightness up of the background without effecting the overall look of the subject.

Furthermore, I used the vignette tool to create depth and shadows around the edges of the photograph. In addition, I also used different overlays to create an aged look to the photos, increasing the likeness to Blossfeldts’ original photos.

I believe my most successful project was my final edited images. I especially like these because I feel the editing improved the overall look, creating a more interesting piece. I also liked how the overlays enhanced the image. This made the images successful as overlays are a good tool to sue when trying to make an image look a certain way – in this case, I wanted the images to look aged and browning with time. I feel that this was achieved and created the right look for my photographs. I am very happy with the positioning of the subject using the rule of thirds. The contrast between light and dark helps to draw the views eye to the subject of the image too.

However, a criticism I would give myself is that the final edit may have been too dark and aged, unlike the original images. One way I could improve this is by taking the final image back into Pixlr and increasing the whites to a level I am comfortable with. Doing this would have given my emulation a closer end result to Blossfeldt original works.

I believe the least successful part of this project was the animation. Although I am pleased with the frames, I feel it could have been better if the speed was increased and some of the repeated images were changed to separate ones. I also feel that if I had more time to enhance the quality of the animation, it could have looked much better.

Next time, I would increase the number of slots available for images, making it easier to create a much more detailed animation. I also could have made the speed in which the frames change much faster, making it flow much better and smoother.

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DENNIS WOJTKIEWICZ - ARTIST INVESTIGATION ​ mail Quote – Direct Artist Response E I use a Canon EOS 90D camera with a Canon EF 100mm f/2.8 Macro USM fixed lens. The only reason I even know about the technology is because my colleague told me that's what I needed and would be the biggest bang for the buck. The rest of it is all by feel. I have absolutely no photo training. For me that suffices because I'm not hung up on technical stuff. Just looking for ways to capture information for my paintings.​ Dennis Wojkiewicz / Jan 2021

Why this artist?

The final artist I will be covering in my Abstract Nature project is Dennis Wojtkiewicz. This artist differs from previously studied artists as he paints all of his work. However, similarities are that he takes photos of these fruits for references. He then paints these fruits.

Who is he?

Dennis Wojtkiewicz was born in 1956 and is most famously known for his hyperrealism paintings of colourful fruit. His website is: www.wojtkiewiczart.com Why the quote?

The quote is from a direct email response from Dennis. W himself. From the email, I was able understand what equipment & techniques he uses. His camera and lens are Canon EOS 90D with a Canon EF 100mm f/2.8 Marco lens. The main techniques he uses is back lighting - this creates the gentle glow radiating through the fruits.

Why this video?

I have chosen this video as I feel it presents all of his mouthwateringly detailed fruits in a calm fashion. The video presents how his paintings all follow the same format, but are vastly different and colourful in their own way. The focal point is usually the same between images, and the fruits are centred, immediately drawing your eyes to the fruits.

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PHOTOGRAPHIC TECHNIQUES - MACRO PHOTOGRAPHY Macro photography is a genre of photography where the subject is much larger than in real life and very close to the camera. The subjects are usually very small, like flowers or insects. Specialist equipment is needed when taking macro images, like a specific macro lens designed for taking the highest quality of close up images, a tripod to keep the camera still and specific lighting to enhance the detail of the subject, one example of lighting is a ring light attached to the end of a lens - this creates the depth and shadows that enhance an image. Macro photography can be done with normal lenses, however the results can vary as the depth of a photograph depends on on the f/stop.

The lower the f/stop, the blurrier the background becomes, creating the iconic look of the macro photograph.

SHOOT PLAN This shoot is inspired by Dennis Wojtkiewicz's work. My shoot will take place indoors with the primary light source being backlight from a lightbox. My props will include various thinly sliced blood orange pieces, a lightbox and a tripod. My lighting will be very highkey in order to capture the detail of the insides of the fruit. I intend to shoot with my Sony a6100 using the kit lens, it will also be on a tripod in order to stabilise the shots. I aim to use f/11-13 in order to have a large depth of field, making it easy to capture the detail. My shutter speed will have to be long, capturing lots of light, exposing the fruit.

CONTACT SHEET

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FIRST EDIT

POST EDITING

Step 1: Firstly I used the adjustment tools to enhance colour,

Step 2: In this screenshot, I removed the background using the

saturation and contrast within my image. This helped me amend

lasso tool by cutting out the main fruit and then making the

my exposure and improver finer details within the fruit.

background white.

Step 3: Then, using PIXLR, I duplicated the single fruit and

Step 4: Finally, I used the 'Auto B&W' tool to create a mixture of

rotated them to fit into a pattern

vivid and different designs rather than the same repeating image.

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ROTATIONAL DESIGNS

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ABSTRACT NATURE - FINAL EVALUATION ​Throughout this project, I have developed my understanding of abstract photography by exploring the theme of nature.

Initially I researched the work of Edward Weston. I was inspired by their work as I felt it embodied the overall theme of abstract nature due to his wide use of techniques. Throughout studying this artist, I was able to explore concepts of colour, movement and texture in my own photography examples. Inspired by their work, I created a series of emulations by using a monochrome filter on my camera. The filter makes an image black and white, like many of Weston’s own works. I also used lighting to my advantage to enhance the movement and curves of the subject, in case this was a pepper. I also investigated the technical process of creating a contact sheet, exploring how to pick the best images out of a group of photos and plan how to edit it to obtain the best results.

Weston’s work helped me understand the theme of abstract nature by giving me a first glance into what the theme of abstract nature means in its most basic form.

The next artist I studied was Anna Atkins. Studying her work let me explore other ways of capturing photographs and how she used space, shape and contrast in her artwork. Notably, Atkins did not use a camera to capture her images. After this research, I created a series of emulations by creating cyanotypes using cut up pieces of paper to block the light from exposing the photosensitive solution the paper was painted with. These pieces of paper were left in the sun for around 24 hours, guaranteeing a fully exposed cyanotype.

By investigating this technical process, it helped me understand the theme of abstract nature as her artwork demonstrates how photography do not have to be captured using a camera. Her work also helped me understand simplification in photographs and how less can be more.

Afterwards, I researched Horst P. Horst and how he edits his images using rotational symmetry, exploring elements such as movement and balance. I would then use these elements in my own work. Using emulations from previous studies, I employed the technique of digital editing in order to rotate my images and create something new and unique out of my previous works. The editing software I used was the free application called ‘Pixlr’, there I was able to experiment with different levels and adjust components such as contrast and exposure. This greatly helped me understand the theme of abstract nature as it allowed me to manipulate my images at my own pace. It also helped with understanding highlights, shadows and colour.

Then I studied Karl Blossfeldt as his artwork incorporated contrast, texture and space, further developing my understanding of these elements as I created my emulations. I created these emulations by creating a blank white set with gentle lighting that highlighted certain details on my subject, that being either dead and dried up plants/flowers and aged wood. I used a tripod to stabilise my images as the shutter speed was very long in order to fully expose and brighten the image. Once all my images had been labelled and final images were decided, I imported these images into ‘Pixlr’ to further edit them into looking more like the source material. In my opinion, both Blossfeldt’s and Weston’s images were similar in ways like in composition and viewpoints. By investigating Blossfeldt’s work, I could further develop me understanding on composition and the rule of thirds. With this knowledge, I can mature my images into something looking more professional and create balance in my images.

Finally, I looked into Dennis Wojtkiewicz and his work. Wojtkiewicz was the final artist I studied in the Abstract Nature project. His work was particularly interesting as he firstly takes photos of his subject, and then carefully paints up the image in hyper realism. In his work, many concepts such as pattern, unity and movement were used in my own examples inspired by his work. I created these emulations by using a lightbox and laying thinly cut orange, lime or lemon slices. The light would shine through the fruit, creating a glowing effect. I then edited these images to create patterns using one of the fruits, changing the colours of certain fruit slices to create contrast. Afterwards, I used pervious learning from Horst P. Horst and rotational symmetry to create abstract and interesting images. I then manually edited these images using sewing and multiple versions of my image enlarged in normal colour and black and white. Finally, their work helped me understand the theme of abstract nature as it opened my eyes to how wild you can be with digital and manual editing, like completely morphing the subject to become something very different.

Taking everything into account, I believe my most successful outcomes from this project was my lighting and colour post-editing. By using editing, I was able to create an image that looked more how I’d originally imagined it to be, ultimately creating a superior looking image from the original. However, I accept that I have room for improvement in my artist research. I should take more time to write in detail and use key terms to develop my ideas fully, making my work easier to understand for anyone reading it.

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ABSTRACT NATURE - HAND MANIPULATION SAMPLE BOARD

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