The Prompts - Responding to and writing about images "Composition".

As soon as you're visually aware as a child you'll start to see images... On television, on computer screens, in newspapers, books and magazines and you'll be presented with images that generally conform to the rule of thirds. If you're still unsure what the rule of thirds is and how it's used in photography and paintings -  type 'Rule of thirds' in Google and you'll see thousands of examples.

Generally when I initially explain it I use as an example one of Thomas Ruffs deadpan portraits.

These image conventional compositions with the person sitting in the central third with the eyes falling on the top third intersection. Look through historical paintings and most portrait photography these conventions generally apply. Given a camera and told to take a photograph someone - most people will apply these rules. So when deconstructing your research images and analysing them, this is one of the basic things you can discuss in your work. Do the images you're looking at stick to these conventions or break the rules? If the image doesn't conform to the rule of thirds - why do you think it doesn't - what is the photographer trying to do?

Think about the space that's possibly been created, think about the use of the image - is the space there to provide space for text perhaps?

Breaking the frame

Look at your research images and look at the key subject in the image or the main components - do any of them break the frame or are all the elements of the image contained nicely within the frame? If they do break the frame as in the sheep here in this famous painting by William Holman Hunt 1852 "Strayed Sheep" at Fairlight in Sussex. Why?

A lot of fashion Photography despite the fact that it is constructed and planned includes this aspect of composition - why? Look at fashion images and you'll see limbs and parts of bodies cut off by the frame of the image - do you think this right or wrong - does it matter, do the limbs need to be in the image? Are there rules for instance when you shoot someone standing up about where you should cut through their legs when shooting the image as a 2/3rd or 3/4 length portrait?

Negative space

When and why might you leave space in a picture? Why do we shoot portraits as upright compositions, why is that the right way? Similarly why are most landscapes horizontal - and what if we use a square format camera - how does that effect the composition and the balance of the image? What are your thoughts on the matter? See this article here.

Look at the images that you're researching or analysing and discuss them in these terms.

How big in the frame?

Looking at the image what can you say about the way the 'Subject' is framed, is it close or far away - why? Would it affect the way that we read the image and make sense of it if the subject was closer or further away. What is the relationship between the subject and the background or surrounding subjects?

People -

If there is more than one person in the frame - how have they been composed in relation to each other? The space between the people - what does it suggest about their relationship?

Viewpoint -

Where has the photograph been taken from - again this is very significant when it's in conjunction with the image of people. Has the photographer shot the image on the same eye-level as the subject? How does this affect the reading of the image - what does it suggest about the relationship between the photographer and the subject?

What if the photographer is higher than the subject - how does this affect the psychology of the image and the opposite... the photographer is lower than the subject? All of these things have a very significant bearing on the way the images are perceived.

The Prompts - Responding to and writing about images "Light".

This is an important one to always include as it demonstrates your knowledge of how light is used. For this you need to look at the light and judge whether the photographer has used available light, studio flash, flash guns, daylight or a mixture of any of these or something different? You should then write about the quality of the light in terms of it being ‘diffuse’ or ‘Point’ light, discussing the impact this has on the image – shadows, contrast, definition, flattening, vibrancy of the colour. Does the light set the mood in the image; does it make the image look dark, sinister, bright or happy? Think about and discuss the light in terms of other aspects of photography you’ve previously learned about – does it look like another practitioners (Photographers) lighting style, does it help with making image look objective or subjective, is the light full of drama or is it neutral?

Say why you think the photographer has made these choices – how relevant is the light to the image overall - is it inconsequential or fundamental? Could the light be used differently – is the light consistent or inconsistent across a series of images – think about the Becher’s for instance all of their images had a uniformity by virtue of only ever making their images when the light was of one specific type/quality.

With interior shots featuring people or objects, look at where the light is falling, look at reflections in the eyes and other reflective surfaces or objects – look for clues as to what kind of light has been used? Is it simple or is it complex?

You might even include lighting diagrams?

Approaches to producing images - Typology

http://www.listofphotographers.blogspot.co.uk/

Typology (Work in Progress)

This is one of the approaches we cover and teach you about.

Typology is an approach where you focus on 'Types' and produce a series of images in sets, often presented as a composite on one single piece of paper, e.g. an A3 print with 9, 12 or 15 images or more. Alternatively the images can be produced singularly and then displayed as a set at the end of a project.

 

Within your longer projects, whereby you have to explore and experiment with different approaches in producing your images, this is one of the approaches that you can evidence in your work that has excellent opportunities to link with high quality research that evidences key points in Photography history. Typology also allows you to discuss several other elements in conjunction with the images/approach. If you look at Bernd & Hiller Becher, this will allow you to explore and discuss Objectivity Vs Subjectivity maybe linking with Deadpan and other artists such as Thomas Ruff and looking at the links his work has with Photobooth images and the imposition of a set of rules that takes the subjective elements out of the image taking process.

 

Other artists that you should look at directly linked to Typology are James Mollison and two of my Favourites Jeffrey Milstein and Alejandro Cartagena.

 

Jeffrey Milstein (Planes).

 

 Jame Mollison (James and Other Apes)

 

The images here all use relatively simple approaches with the exception of the Bechers, the Bechers would have used 10x8 view cameras, film and darkroom approaches. Similarly you have to make decisions as to whether you want to keep things simple and produce the work at the experimental phase using your digital cameras, but once you've produce your work in a number of different ways you might consider shooting your work using the Typology conventions and perhaps explore producing it with another experimental approach, or use film and Darkroom/analogue techniques.

 

Pinhole camera (As a Typology)

Mixed Media (As a Typology)

Liquid emulsion (As a Typology)

Images & Text (As a Typology)

 

All of the artists mentioned here have either been featured in recent Journals or have Youtube videos where their work is discussed and explained by either the artists or someone qualified to do so.

 

In terms of difficulty, this is a relatively easy approach with the potential to produce visually interesting outcomes that meet a great number of your learning outcomes required to attain the higher grades. Needless to say at the end of any work that you produce around the theme of Typology you should then reflect on the work that you've produced and consider it as a possible method of producing your final body of work. Because of the potential of Typology and the fact that it can be easily mixed with a range of different approaches, this could also be the main thing your project could hinge around and explore and could easily serve as your starting point for any independently led project?

 

Additional photographers that work using the Typology approach can be found here - http://www.listofphotographers.blogspot.com/

 

 

 

 

 





Experimental/Alternative approaches in Photography

(Work in Progress). Here's a list of suggestions of a variety of different ways you could approach your work moving it away from purely digital and straight photography approaches. On your A- Level there is a requirement to explore a range of different and experimental approaches within your work.

Mixed Media - Victor Sloane, Peter Beard,

Subjective v Objective

Pop Art  - Julian Opie, Andy Warhol

Expressionism - Ernst Haas, Alfred Stieglitz (Equivalents),

Impressionism

Abstract

Minimal

Narrative

Voyeuristic - Merry Alpern, 2,

Deadpan - Tereza Vlckova Thomas Ruff, The Bechers,

Typology - Bernd & Hiller Becher, Jeffrey Millstein,

Topography

Pinhole - Barbra Ess, Gina Glover,

Tilt Shift - Slinkachu

Liquid Emulsion - somebloke

Cyanotype - Anna Atkins, Wig Sayell,

Repetition Andy Warhol,

Degrading & Damaging - Ed Burtynsky (Chittagong Polaroids), Sally Mann

35mm & Darkroom techniques -

Abstraction

Joiners - David Hockney

Images & Text - Peter Beard

Found images -

Comic Book - Sin City, Ah Ha (Stand by me video).

Colour - Evzen Sobek a life in Blue

For more check out the list of photographers - CTRL + F and search "experimental" http://www.listofphotographers.blogspot.com/