Abstract

ABSTRACT FORMS

Exploring abstraction in photography with Francis Bruguière, Jaroslav Rössler and others.

The relationship between photography and abstraction is fascinating. Unlike other visual art forms which begin with a blank space or surface that has to be filled by the artist, photography begins with a world full of information. The conventional job of the photographer is to select and capture a small portion of reality in a relatively faithful manner. However, it could be argued that all art, including photography, is essentially abstract. Photographs are versions of reality. They are flat. They have edges. Photographs are artful selections. They are silent. In the early years of photography, certain artists understood this aspect of the medium and emphasised the abstract qualities of photographs and the disinterested eye of the camera. This tradition of abstraction in photography continues to the present day.

TASK:

You must start this project by completing the following tasks…

Research the history of abstraction in photography. Check out the images on the Pinterest page. Watch the video about the history of abstraction in photography and make notes on it and watch the YouTube vodcast which explores some famous and not so famous examples of photographic abstraction, again making notes.

Write a short introduction explaining your understanding of abstraction in photography.

Francis Bruguière…

Bruguière was an American photographer who moved to London in 1928 where he began to experiment with non representational photography. Of these, the cut paper abstractions are particularly beautiful. The photographer exploits the endlessly subtle qualities of both paper and light, manipulating both in order to create complex patterns of texture and form.

Vjeko Sager

Sager is a contemporary artist whose series 'Antimatter' combines cut paper abstractions reminiscent of those by Francis Bruguière with charcoal drawings. Whereas Bruguière's images explore dramatic contrasts of light and shade, Sager's photographs are much lighter in tone. The cuts in the paper are mostly located in the central section of the paper. They tend be to be shorter and straighter, producing subtle disruptions of the paper's surface that remind me of architects' models.

TASK:

​​Make 10 unique, beautiful photographs of one piece of white bond paper with cuts made by scissors or exacto knives. Keep the paper flat except for the cuts. Shoot on a white background in a studio with spotlights and soft light. Use color filters on the spotlights, if you desire. There should be nothing else in the photographs but one piece of bond paper. Explore lighting and change the lighting for each photograph.

Things to consider here are:

        - Many of the Formal Elements with a particular focus on the relationship between line, shape, form and light.

        - Decisions about either photographing in black and white or color can also be made independent of the need to make figurative images. This can include the decision to take the image in colour and convert to black and white or adjust the colour balance of the image as an element of post production.

Jerry Reed

"Over time, I have come to see that what motivates me is the result of my having redirected how I make images, turning from the externally directed position of witness to that of author.  In so doing, I accept the entire authorship of the creative process from my creation of the paper sculpture to making of the fine art print. Paper Work, my current three-year project is comprised of twenty-six images. In my studio, I shaped two-dimensional art papers giving them edges and volumes, then lit them dramatically utilizing Fresnel lighting to emphasize their three-dimensional forms. Though ephemeral, my forms are preserved photographically."

Photographer Jerry Reed cites both Rössler and Bruguière as influences on his work. His objective and analytical approach to documenting visual effects may reflect his early career as a scientist.

TASK:

​​Make thirty-six unique, beautiful photographs of one piece of white bond paper. You may not cut or tear the paper, but you can fold it, roll it, or crumple it. Shoot on a white background in a studio with spotlights and soft light. Use colour filters on the spotlights, if you desire. There should be nothing else in the photographs but one piece of bond paper. Explore lighting and change the lighting for each photograph.

Things to consider here are:

        - Many of the Formal Elements with a particular focus on the relationship between line, shape, form and light.

        - Decisions about either photographing in black and white or color can also be made independent of the need to make figurative images. This can include the decision to take the image in color and convert to black and white or adjust the color balance of the image as an element of post production.

Abstract Blur

Abstract nature photography is a wonderful way to both expand your creative skills & celebrate the beauty of nature in new ways. Just think of what abstraction does for your photos – abstraction can bring more mystery to your pictures. Abstract photography allows you to use organic shapes, textures, color and light in new ways.  It forces you to look deeper at scenes, even scenes you have seen on a regular basis, and it naturally helps you to amplify the artistic side of your photography. 

The idea behind zoom blur is to create a sense of motion by zooming in or out during a slow shutter speed, resulting in an image with a central subject and lines radiating outward, as if the subject is moving.

Here are a few essentials to keep in mind.

• This effect is most successful if you take the photo in low light or on a cloudy day; otherwise, the chance of overexposure is good due to the long exposure time, even with a small aperture.

• Using a tripod is a good idea in most situations to produce the straightest lines, but it’s not imperative — sometimes the added movement from camera shake can enhance the image, and sometimes a tripod can be a hindrance, especially if your subject is moving.

• Whether the subject is stationary or in motion, it’s important for the composition to have symmetry for the radiating lines to be most effective.

• Also, and as you may have guessed, it takes some practice to nail down this technique, so don’t get frustrated after your first few shots.

TV Mode:

Shutter Speed 1/10 sec

Zoom the lens back and forth while shooting in Continuous Mode

Choose the best zoom blur and edit the levels in Photoshop

Human Blur

Camera settings

We used shutter speeds ranging from 1/4 sec to 1.3 secs, with the majority shot at 1/2 sec. ISO and aperture were used to control the shutter speed. Focus on the eye nearest the camera at the beginning of each exposure. 

Multiple Exposure Portraits in Canon Eos REBEL:

Step-by-Step Guide

• Access the Shooting Menu: Go to your camera's menu system and navigate to the shooting menu. 

• Find the Multiple Exposure Setting: Look for the option labeled "Multiple exposure" and select it. 

• Enable Multiple Exposure: Set the feature to "On". 

• Choose the Number of Exposures: Select how many individual exposures you want to combine (e.g., two for a double exposure). 

• Select a Merging Method: Choose a control method:

  • Additive: The exposure of each shot is added together. You'll need to manually reduce the exposure of each individual shot to avoid overexposure. 

  • Average: The camera averages the exposures of all the individual shots to create the final image. 

  • (Comparative) Bright: or (Comparative) Dark: These options preserve the brighter or darker parts of each shot. 

• Shoot the Images: Take your series of photos. With Live View, you'll see a live preview of how the images are merging. 

• Finalize the Image: Once you've taken all the required shots, the camera will combine them into a single composite image. 

Tips for Best Results

• Use Live View: For a real-time preview of how your shots are merging, use Live View shooting. 

• Plan Your Images: Have a plan for your final image, with some areas overexposed (white) and some dark, to provide space for the blended elements. 

• Manage Exposure (Additive Mode): If using the Additive mode, reduce the exposure compensation for each shot to prevent the final image from being too bright.