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
11
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
15
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
16
- 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
18
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)
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