Level 2
How To Read A Photograph
Candidate number: 1072
If This is Art Considers how photographers have devised strategies, performances and Happenings especially for the camera. This challenges the stereotype that photography is all about sitting and waiting for that perfect Moment. Based in the performance art of the 60’s and 70’s
Seidou Keita All of Seidou Keita’s photography looks as if it could have been quickly taken as if he grabbed a random person, told them to stand against a wall, took the photograph and then moved them along.
David Goldblatt
Each photograph shown by David Goldblatt bellow succeed in telling you a story, from the wounded soldier to the house maid cleaning. It looks a If he was just walking around with his camera, saw something he thought told a story and then took a quick picture of it.
If This is Art Considers how photographers have devised strategies, performances and Happenings especially for the camera. This challenges the stereotype that photography is all about sitting and waiting for that perfect Moment. Based in the performance art of the 60’s and 70’s
Phillip Lorca diCorcia
DiCorcia’s work is as if he just saw people, took a picture of there emotions, be it from happiness to sadness he has just taken photographs of emotional faces.
Alfred Stieglitz
If This is Art Considers how photographers have devised strategies, performances and Happenings especially for the camera. This challenges the stereotype that photography is all about sitting and waiting for that perfect Moment. Based in the performance art of the 60’s and 70’s
Sophie Calle
Joseph Beuys
Gillian Wearing
If This is Art Considers how photographers have devised strategies, performances and Happenings especially for the camera. This challenges the stereotype that photography is all about sitting and waiting for that perfect Moment. Based in the performance art of the 60’s and 70’s
Bettina von Zwehl
David Spero
Once Upon a Time Story telling in art photography. Tableau photography where the story has been distilled into one single image (based on 17th And 18th century painting)
Jeff Wall
Once Upon a Time Story telling in art photography. Tableau photography where the story has been distilled into one single image (based on 17th And 18th century painting)
Sam Taylor
Once Upon a Time Story telling in art photography. Tableau photography where the story has been distilled into one single image (based on 17th And 18th century painting)
Francis Kearney
Deadpan Distinct lack of visual drama. Usually large scale pieces of work with little central focus or obvious subject matter
Andreas Gursky
Gursky’s photo-shoot here is Deadpan definitely, there is no emotion and the whole photograph is very uniform, items lined up onto a shelf as if they were in some-ones house.
Bridget Smith
Deadpan Distinct lack of visual drama. Usually large scale pieces of work with little central focus or obvious subject matter
Deadpan Distinct lack of visual drama. Usually large scale pieces of work with little central focus or obvious subject matter
Deadpan Distinct lack of visual drama. Usually large scale pieces of work with little central focus or obvious subject matter
Something and Nothing Photographing objects and subjects that wouldn’t ordinarily Warrant a second look e.g. street litter, abandoned rooms or dirty laundry.
Something and Nothing Photographing objects and subjects that wouldn’t ordinarily Warrant a second look e.g. street litter, abandoned rooms or dirty laundry.
Something and Nothing Photographing objects and subjects that wouldn’t ordinarily Warrant a second look e.g. street litter, abandoned rooms or dirty laundry.
Something and Nothing Photographing objects and subjects that wouldn’t ordinarily Warrant a second look e.g. street litter, abandoned rooms or dirty laundry.
Human Existence Emotional and personal relationships. A diary of human interaction, a focus of unexpected moments in everyday life
Human Existence Emotional and personal relationships. A diary of human interaction, a focus of unexpected moments in everyday life
Human Existence Emotional and personal relationships. A diary of human interaction, a focus of unexpected moments in everyday life
Human Existence Emotional and personal relationships. A diary of human interaction, a focus of unexpected moments in everyday life
Moments in History Documenting social and ecological disaster after the event. Using art photography to present the consequences of political and human upheaval.
Moments in History Documenting social and ecological disaster after the event. Using art photography to present the consequences of political and human upheaval.
Moments in History Documenting social and ecological disaster after the event. Using art photography to present the consequences of political and human upheaval.
Moments in History Documenting social and ecological disaster after the event. Using art photography to present the consequences of political and human upheaval.
Revived and Remade Photographs that explore and exploit our pre-existing knowledge Of imagery. The remaking of famous photographs, adverts, scientific imagery etc. Using old photographic techniques and styles (copyright issues).
Revived and Remade Photographs that explore and exploit our pre-existing knowledge Of imagery. The remaking of famous photographs, adverts, scientific imagery etc. Using old photographic techniques and styles (copyright issues).
Revived and Remade Photographs that explore and exploit our pre-existing knowledge Of imagery. The remaking of famous photographs, adverts, scientific imagery etc. Using old photographic techniques and styles (copyright issues).
Revived and Remade Photographs that explore and exploit our pre-existing knowledge Of imagery. The remaking of famous photographs, adverts, scientific imagery etc. Using old photographic techniques and styles (copyright issues).
Size
This is City of Angels, by Ian Ruhter. This photograph is taken as if to focus on a bent and barbed wire fence with a distant landscape view of a city. This photograph makes it look as if the towering buildings aren’t actually that tall and that the fence is actually quiet tall. The photographer ha focused upon the fence and it’s only by chance that the city in the background turned out to look the way it does in the background, faded out and small with an effect from the paper making it look smoky.
Shape of Framing
Arbus Kid Grenade, created by Diane Arbus. A lot of Diane Arbus’s work is taking with a camera that produces square pictures. This photograph also follows the rule of thirds, where the picture could be split like a knorts and crosses board, each square part a new image with a new story.
Focus
Self Portrait created by Lee-Friedlander. I chose this photograph for focus because when you look at it you’re immediately drawn towards the left where you can see in a car wind-mirror the photographer himself. After you notice that the photographer is also in the photograph you then look and see everything else, a building with the words, “God Bless America” some power lines, a car park and in the distance you can see hills that are covered in trees.
Surface
San Luis Potosi created via Aaron Siskind. When you look at Aaron Siskind’s work, It looks as if he took a bird eye view of a landscape because the photographed place is jagged , layered with posters and other paper to create what looks like levels upon the wall. No matter where you look in this picture, there isn’t any focus, throughout all of it there’s no blur just texture/surface.
Colour
Untitled, created by William Eggleston. The way colour is used within this photograph is to draw focus towards a street light where underneath is a old building seeming abandoned with a car outside the front doors. The artist has tinted colours, making the photograph appear to look how he would imagine it. Photographs work well taken like this as they provide a focus point for people to go too straight away.
Time
Jumping over Boy’s back by Eadweard Muybridge. Eadweard Muybridge’s work is taken using a very old film camera, multiple shots taken in quick successions to create a story shown via photographs of a man leap frogging over another man’s shoulders.
Visual Elements Andreas Gursky - Prada III
From what I can see, I believe that the light source for this photograph and others in the photo-shoot are artificial lights, lamps used to help create lighting for such a photograph. The lighting is coming from either side of the camera, meaning there are more then likely two lights, one for each side hitting down upon the area of the photograph from above. The light is very strong, not creating visible shadows within the photograph but brightly lighting the photographs to make it look as good as possible. You can start to see shadows on the side of the photograph where the light isn’t focussed. The picture, as it’s Deadpan isn’t textured at all. The photograph is simple, what you see is what you get. You are able to make out what each item is but they’re just pitch black. The camera even though the photo is deadpan, focuses upon the centre, as you look to the sides of the photograph it begins to blur slightly but not so much that you can’t make out what is actually in shot. I wouldn’t say that the photograph is sharp but the edges aren’t smoother or blurred at all. I would say that the camera has a soft focuses into the middle as the slight blur leads you to it. The photograph is a simple straight on view, showing everything face on to the camera around eye level, as If you were actually looking through the camera at the shelves. Because of how the photograph is taken with everything laid out for the viewer, I find the image dull yet still photography, showing something and handing it straight to you without making you think even a little. The photographer didn’t want a centre of interest so has put all the items the same distance from each other drawing your eye to no specific place within the photograph.
Light Quality - Texture - Focus - Angle of view Framing composition - Colour
Harvard Refrencing Website Author: Tate Modern 1 February 2003 Website Title: Consuming passions Website Address: http:// www.tate.org.uk/context-comment/articles/consuming-passions