ES - Abstract Nature - Candidate Number 3135 - 46725 – PGHS by missmorrispghs

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Abstract Nature - ELEANOR SUMNER - GCSE PHOTOGRAPHY

ELEANOR SUMNER GCSE PHOTOGRAPHY HOME

COMPONENT 1

PERSONAL PROJECTS: ABSTRACT NATURE

UNDERSTANDING ABSTRACTION n abstract picture is one that can't be immediately recognised as something A in the physical world. Photographers tend to focus on an images visual impact, helping the viewer understand the subject as a whole. The photographer looks to draw the viewer in often by simplifying the image, focusing in on a few of the visual elements to help the viewer develop an emotional link. An effective abstract photograph may create a sense of visual unity where no one part is more important than another. Each element works together to express a theme or ideas rather than where one element juxtaposes the others. The result is an image that has a harmonious feel. Abstract photography gives photographers the opportunity to isolate aspects of a subject and express how they see the world, helping viewers to see the world through their eyes.

Elements of art in relation to photography There are a number of features of photography that help photographers communicate their ideas to the viewer. These are the elements of art and include: line, colour, form, texture, pattern, space and tone. In this section I will explore four of these elements: line, texture, space and shape.

Line A line in a photograph can have a great impact on the overall connection a viewer has with an image. The watcher's eyes are normally drawn along lines; some lines are self-evident, and some are inferred. The lines can be: vertical, equal, bent, slanting or even solid. Lines will often draw the viewer to a particular point in the photograph, sub-consciously making the viewer focus on an important aspect to help them develop an emotional connection with the image. This helps to bring the viewer into the photograph. Different types of lines have different effects, for example, a horizontal line creates a calm, relaxed feel whereas vertical lines often suggest power. Curve lines, on the other hand, allow the viewer to slowly meander through the image, drawing in detail as they go. They help to slow the viewer down creating a relaxed feel. Lines, therefore, lead the viewer on a journey into the image, often resting on a focal point. They help to create depth and give the image a more 3-dimentional feel. Photographs can use explicit lines such as railways, structures or roads; however, lines can be more subtle or implied such as a row of trees or a queue of people. There may also be more than one line in an image, for example there may be an explicit line of a wall or pavement as well as the implied line of a person’s gaze. The effect is to create an interesting image where there are layers of meaning to explore.

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The top image above shows the curved lines in the foreground juxtaposed against the diagonal lines of the rocks, top; both seem to draw the viewer's eyes down to the depth of the valley, highlighting the changes in terrain. The vertical line down the centre of the purple leaves, top left, highlight the symmetry of the image and draws attention to the jagged edges of the leaves, whereas the slightly curved lines of the petals in the image bottom right, help to create a spiral, drawing the viewer's eyes to the centre of the flower. On the other hand, the curved lines of the grapes, top left, highlighted by the light create bubbles of energy, accentuating the freshness of the fruit. Finally, the deep curves in the image bottom left, draw the viewer's eyes diagonally from top left to bottom right, creating a sense of mystery as the destination of the curves is unknown.

Space Positive space refers to zones where the subject is situated whereas negative space is the region around the subject. By keeping the negative space around the positive uncluttered, you can add emphasis to the subject, creating a more powerful image. Furthermore, a photographer can use negative space by carefully considering where they place the subject within it: placing an image in front of negative space can indicate where the subject has come from whereas placing the subject to the side can enhance the subject’s gaze, giving them an area to look through. A photographer may also use the rule of thirds when capturing negative and positive space: positive space taking up one third and negative two thirds. This helps to strike the right balance between the two, creating a powerful image where the negative space enhances the subject.

I have circled areas of positive space above in the top left of the image of the clouds. These areas are breaks in the clouds where the bright sky beyond peeps through, giving a glimpse of the world above the clouds. The negative space is covered in clouds, giving the image an uncluttered feel, and allowing the viewer to focus on the subject. The image bottom right of the second photograph, shows how centralising the positive space in front of the negative helps to draw the viewer’s gaze down the space created by the curled leaf. Similarly, in the images top right and bottom left, placing the subject in the centre in front of the blurred negative space, draws the viewer’s gaze directly to the centre of the subject: the heart shaped curled leaves or the centre of the four leaved clover, creating powerful images. The image top left, juxtaposes the other three as the subject dominated the image, leaving little negative space. The effect is to focus the viewer's eyes towards the centre of the succulent, guided by the bold triangular shaped leaves.

Texture Adding texture to an image helps to create depth to the subject as well as balance between smooth and textured areas of the image. Texture can be added by changing the direction of the lighting: light directed at a subject from the side helps to enhance the texture of the image as it creates shadows. The light hits tiny areas where the detail is raised, creating a shadow behind it. These shadows therefore draw attention to the detail on the subject. The quality of the light is also important: the stronger the lighting, the stronger the shadows. A photographer spends time deciding the best angle to capture a subject as well as how to use strong light to emphasis texture. The shadows created on the surface of the fruit in the top left enhance the texture of the skin, creating an interesting pattern whereas shadows cast in between the folds, top right, highlight the movement of the ribbon like structure, making the subject seem to waft to and fro. The strong shadows in the bottom two images, accentuate the straight lines of the veins and star shape pattern, creating depth.

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Capturing shapes in an image can affect the mood of the image depending on their appearance. For example, circles can give an image energy and moment whereas squares and rectangles can create strong stable images. Shapes can be geometric or organic. Geometric shapes can be man-made such as buildings which can create strong lines but also they can be created by natural features such as hedging, producing a softer image. Organic shapes tend to generate curves and irregular shapes, producing a calm mood. For example, the curves in the image bottom right gives a calming effect. Shapes can be produced, not only by objects in the photo themselves, but also by groups of objects working together. Groups of shape can also produce patterns such as in the photograph bottom and top left where the hexagons in the honeycomb have produced a striking pattern and the triangular segments of the grapefruit lead the viewer around in a circle, creating a bright warm image.

PRINCIPLES OF DESIGN There are a number of principles of design that bring the components of an image together to express the photographer’s thoughts and ideas. I will look at two of these principles, contrast and repetition, below:

Contrast: Contrast is a principle of design used to create the maximum impact where the opposite of elements are put together. It particularly refers to contrasts in light and dark tones but also differences between colours and differences in the composition. Tonal contrasts are created by changes in the way light is reflected off an object. Dark areas are those where shadows have been cast, and light areas are bright areas referred to as highlights where there are no shadows at all. In between there are mid-tones. The top right image of the blue flower has contrasts in tone created by the shadows in between the folds of the petals, juxtaposed against the bright areas on the surface which are directly in the light.

Contrasts in colours can also be created, such as between the orange flower and the tree trunk (see image top left). It can also be created by different intensities of colour. For example, the image of the striking blue flower against the blurred green background (bottom right) creates differences in colour intensity. Compositional contrasts refers to those between different aspects of the image or different ideas. This can be seen in the image bottom left where the butterfly and the flower contrast each other, not only as they are two different life forms, but also in the movement they would create: the butterfly is fast moving whereas the flower only moves in response to the butterfly. Compositional contrasts in an image show how the photographer sees the world and captures what they are trying to say. , There can be many different contrasts in an image which are displayed in many areas, or few contrasts where there is perhaps just one or two contrasts in a small area of the image. For example, the image of the orange flower on the wood has fewer contrasts. The main contrast is the difference in colour between the wood and the flower and the tonal contrasts created by the light from the right. This creates a shadow behind the flower and striking shadows between the grooves of the wood. The image bottom right, on the other hand, has many contrasts particularly between the differences in tone in the background where the light from the right highlights one side of the stems and casts dark shadows on the other. Changes in contrasts create different moods in an image and can help to guide the viewer to the subject. For example, the viewer’s eyes are immediately drawn to the blue colours in the image bottom right, and, in the image bottom left, the viewer’s eyes are first drawn to the dark tones of the butterfly before then travelling to the flower.

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Repetition in an image creates patterns, and changes in pattern attract the eye of the viewer. Repetition guides the viewer's gaze, directing them to aspects of the image the photographer wants them to focus on. Furthermore, it creates rhythm which helps to create the mood of the image. For example, the regular repetition of the petals of the purple flower in the image top right, directs the viewer’s gaze to the centre, creating a soft gentle mood.

Similarly, the gentle repetition of the petals in the image bottom right guides the viewer’s eyes to the bottom left corner of the image where the repetition is broken and there is a change in rhythm. The image top left creates a different mood, as the repetition of the straight lines is broken up by the curved edges, causing the viewer’s eyes to jump from one curve to another. This image is less calm than the other two. The final image, bottom left similarly directs the viewer’s eyes to the centre of the flower, but also the green background creates a break in the repetition of the petals, framing the subject and creating a striking effect.

Investigation Of Elements And Principles Of Design

For my first investigation, I have chosen to look at the use of texture and contrast within nature. Here are 15-23 abstracted images where I try to emphasise the use of texture in nature.

Unedited images:

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Editing process:

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Edited images

Evaluation unedited image: The first thing that catches your eye in this picture are the round yellow/orange berries. Different textures are presented in the image: the black centres have a spikey texture, and the orange/yellow skins are smoother. The green leaves have a shiny glaze to them and a smooth texture, similar to the skin of the berries. There are therefore, both similar and contrasting textures in the image. I found the way light reflected from the large leaf above the berries and slightly to the right interesting. The light has created shadows highlighting the curl of the leaf and the different textures. The midrib of the leaf can be seen very clearly as it is highlighted by the light. It stands out towards the tip of the leaf as the light is reflecting off the leaf surface to the left, creating a bright white area which contrasts with the dark green of the midrib. Further back on the leaf, dark shadows are cast to the left, highlighting the midrib as a lighter line. The shadows on both sides of the leaf emphasis the leaves curl inwards, creating contrasts between the light patches towards the middle. The contrasts in tone and texture add interest to the image. POWERED BY https://eleanorgcsephotographypghs.weebly.com/abstract-nature.html

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The raindrops on the surfaces give the image a more textured look as the transparent raindrops act as a mirrored surface and reflect the light, creating a sparkle to the image. The 'sparkles' are dotted around the image, creating a crisp image with a pleasing feel. The main focal point of the image is the cluster of berries in the foreground which are taken at eye level. The eye is immediately draw to the bright colour of the berries which contrast with the green foliage. Furthermore, the berries have a smooth surface which contrasts with their centres and the texture of the background. The eyes move from the berries to their centres before moving up towards the smaller cluster of berries and the single large leaf creating a mixture of dark and light tones.

Investigation of element / photography shoot: For my shoot, I used a camera with a prime lens as it was able to capture close-up shots more effectively. I used a tripod to balance out my shots and hold the camera still so I was able to take a sharply focused image. My f-stop remained between f/4.6 and f/7.8. The vast majority of my photographs were taken at 1/200 shade speed and the others were taken at 1/100. My photographs were taken in full RGB shading and afterward edited in Pixlr and made into monochrome. The photographs were taken inside with common daylight radiating on the plant. The photographs were generally taken from eye to middle level so the viewer could view the image as if they were actually there. When highly contrasting images were captured, abnormal shapes were created in the image, adding interest to the viewer.

Contact Sheet:

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Gallery:

Shoot Description: Prior to taking the pictures, it had been raining. Weather influenced my shoot, as there were raindrops which gave the image more depth as well as contrasting textures; as we got outside it started to become radiant and shadows were created on the leaves. A rich colour was also created, giving a rich feel to the photograph. From this shoot, I developed an understanding of the effect of rain on an image. I additionally discovered that I needed to take many pictures in order to capture the best image of the berries. This gave me the opportunity to explore how subtle changes to the camera such as the camera angle impacted the final image. I could have improved these images by exploring different angles further such as looking down onto the berries or looking up rather than focusing on eye level. I could have also adjusting the angle from left to right which would have altered the way light reflected off different surfaces as well as creating different shadows.

Evaluation

This picture works well as the light from the right has cast shadows, accentuating the smooth curl of the leaf and the deep centre line. The piece uses the rule of thirds, where the curled leaf occupies the centre third, progressively drawing the watcher’s eye around the remaining two thirds. The subject is the main focus of the image and the background in blurred, creating fewer distractions. However, some areas shine very brightly in the light, creating sharp contrasts with some of the dark background tones which produce a striking image.

The changes in tone between the light areas of the leaf to the contrasting dark of the background has created a striking image. The drops of rain on the surface of the leaf adds texture POWERED BY https://eleanorgcsephotographypghs.weebly.com/abstract-nature.html

as the light hits the drops of water creating shadows. The 10/43

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shadows are different shades depending on the depth of the water drops. Furthermore, the water droplets create a subtle pattern on the surface, adding interest for the viewer. he dark background could of been lightened to allow more T detail which may also have added more depth. The overall image works well, but with further editing I may have added more emphasis to the water droplets, adding interest for the viewer. The dark shadow across the upper area of the leaf adds further interest as the viewer is left wondering what has caused the shadow. The lines of the shadow are very crisp, creating striking lines to the image which contrast to the predominantly vertical lines. The water droplets in this shadow have a completely different texture to the water droplets on the rest of the leaf. These water droplets appear raised, giving them a blistered appearance, whereas the lower droplets, particularly those on the right, create an irregular patterned surface, reminding me of the patterns on animals such as cheetah.

Natural Forms Milk Bathtub Experiments: Inspiration images:

Milk bath photography is a technique in portrait photography. It focuses on natural, minimalist images. It allows you to utilise negative white space so that you can focus on the flowers

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Shoot:

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Editing process:

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Edits:

Edward Weston: To start my exploration into Abstract Nature photography, I have selected Edward Weston as he was one of the first photographers who took photographs of simple objects and transformed them into works of art. He also transformed photography as an art form in its own right rather than an imitation of images created with paints. Edward Weston was born in Illinois in 1886 and was given his first camera by his father, a Kodak box camera, Bull's Eye #2, in 1902 when he was 16 years old. It wasn’t long before it was evident he had the talent to make it as a photographer, so encouraged by his father and sister (his mother had died when he was 5 years old), he began working as a freelance photographer in California, embarking on a career that would last 40 years. He explored many aspects of photography and transformed everyday objects into works of art. For example, he would take close up pictures of vegetables and give them an almost human quality; take images of landscapes and appear to flatten them, POWERED BY https://eleanorgcsephotographypghs.weebly.com/abstract-nature.html

focusing the viewer’s attention on pattern and line; and pictures of nudes, cropping them to focus on one aspect, drawing attention to the shapes the 14/43

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human form creates. Photographing in black and white, Edward Weston focused on the tones and textures created in an image by exploring the use of light. This helped him explore everyday objects and present them in unique ways. “I see no reason for recording the obvious.” – Edward Weston

Inspirational Images

Edward SEMI Analysis Pepper No. 30 was taken by Edward Weston in 1930. It portrays a lone green pepper held in a tin funnel, which reflected light back onto the pepper highlighting its curves. To capture the image, Weston used a small aperture of f/240 with an exposure time of 4-6 hours to produce sharp lines and focus on minute detail. The image brings out the pepper's gentle curves as it captures the different tones and textures brought about by the changes in light. It gives the pepper a similar appearance to muscle contours of a human form. The curves have a sensual feel to them, transforming the pepper from a banal vegetable into a work of art. The photo is taken straight on with the light projecting down directly in front of the pepper which creates interesting changes in tone. Light bounces off the smooth skin and creates sharp contrasts with the dark tones where light cannot reach. This can be particularly seen towards the top of the pepper where deep caverns appear to form, creating a sense of mystery. It is here, for me, the image appears the most sensual and creates the most human like curves. It seems to look like an arm twisted into a muscular pose. This area contrasts with the lower part of the pepper which seems to retain its pepper like appearance. Here the light reflects back off the tin funnel, highlighting it from three sides. This draws the viewer’s attention to the broad deep curve of the pepper that extends from the base up gently curling towards the right, giving it a more human feel as it does so and giving the image a 3-dimentional feel.

The photograph has been taken from a short distance so you can see the pepper in subtle detail. The viewer’s attention is focused on the POWERED smoothBY appearance of the skin and the disfigured appearance of the pepper as a whole. This enables the viewer’s eyes to travel https://eleanorgcsephotographypghs.weebly.com/abstract-nature.html

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along the unusual curves, focusing on the shapes and lines produced and looking to find meaning. It is as if the image has movement and the smooth curves seem to have a strong resemblance to those in some of Weston’s nude photographs such as Nude, 61N (knees). As it is shot in black and white, the viewer is encouraged to focus on the change in tones rather than focus on the pepper itself, giving viewers a more interesting image to explore. he photograph has been cropped so the viewer can only see the pepper. This allows the viewer to concentrate on the details of the T pepper rather than its relationship with its surroundings. To copy this photo, I would use a DSLR camera in a studio and use artificial lighting. Also, I would have to investigate how Weston took his photographs and the settings used.

Shoot Plan My shoot was inspired by Edward Weston's Pepper No. 30. This shoot will be taken inside using natural light through a window in order to create a relaxed feel. The props I should used are a plant pot and a natural product or vegetable. I will change the white equilibrium on my camera to sunlight/shady (dependent on the weather on the day of the shoot). I will take the shot using a stand in order to capture a sharp image I intend having a f/stop of f/3-5 to create depth.

CONTACT SHEET:

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Shoots:

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Edited Images:

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Evaluation: Darker shades:

lighter shades:

,The composition of the photo shows a mushroom where the top of the mushroom is almost in the centre and the stalk extends to the bottom right of the image. The rule of thirds has been applied so that the mushroom forms one third and the dark tones of the background the remaining two. Light is directed from the left which adds strong highlights to the curve of the mushroom and the stalk on the left. This contrasts with the dark tones of the deep ‘valley’ created in the stalk and the dark areas under the mushroom 'head', capturing the eye of the viewer and adding atmosphere. I tried to emulate the style of Weston who used light to highlight the curves of the pepper. The contrast between the mushroom and the dark background adds further interest and helps to focus the viewer’s attention on the mushroom itself. The sharp edge of the mushroom’s outline highlights this contrast, creating a more striking image. The background is uncluttered, isolating the mushroom, forcing the viewer to focus on the detail of the mushroom rather than its relationship with the background. I tried to recreate the way Weston cropped the image of the pepper so only the vegetable could be seen. he photo has been taken from a short distance as T Weston did in Pepper No 30, highlighting the deep lines traveling down the stalk and the curves under the head of the mushroom. The viewer’s eyes therefore seem to focus initially on the top of the mushroom before traveling down the stalk. The irregular lines created under the curve of the mushroom contrast with the straight lines on the stalk and the softer straight lines seen on the top of the mushroom. There is also a perpendicular line at the top of the stalk which adds interest.

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ANNA ATKINS - ABSTRACTION THROUGH CYANOTYPES Anna Atkins was a botanist and a photographer who lived from 17998171. She created ‘Photographs of British Algae: Cyanotype Impressions’ a book showing algae in minute detail. Her photographs captured details of algae that was of botanical significance but also of aesthetic beauty. Atkins used a cyanotype process to capture blue and white prints which were sharply focused, highlighting the detail of the subjects. As one of the first women in the photography industry, I find Anna Atkins particularly inspiring, particularly has she has informed many future photographers such as Liz Deschenes and Penelope Umbrico. I found this video very informative especially where it talks about the visual appeal of the ghost like poppies which serve to highlight the delicate quality of the flower. This helped me understand the importance of creating contrasts in photographs as Atkins creates strong contrasts between the thin ghost like image of the petals and the dense image of the stem and leaves.

Here are the cyanotypes I made in lesson. I really like the contrast between the deep blue background and the bright leaves, particularly in the middle image below where the contrasts are sharper. In each design I created symmetry in all four quadrants to explore the effect of repeating the pattern. I created different tones by altering the exposure time. By placing the leaf shapes on the paper and then exposing them to different amounts of light, I was able to create the image of falling leaves, producing a striking image.

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Horst P. Horst / The unfamiliar and abstract Fashion photographer Horst P. Horst used rotational symmetry to create new patterns. His book, Patterns from Nature (1946), has inspired me to create my own series of rotational symmetry patterns using my work so far. These images were created by using some of my previous photographs and cropping, duplicating and moving them into place to create a naturebased edit that emulates Horst P. Horst's artwork.

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Karl Blossfeldt - Artist Investigation Karl Blossfeldt (1866 – 1932) was a German self-taught photographer and a scholar who used photography to show his students the structure of plants in minute detail. Using fresh specimens was difficult due to their short life in the classroom and therefore having enlarged photographs that zoomed in on specimens was a useful teaching resource. He built the camera himself with a bellows 1 metre in length which allowed him to magnify his subjects to a high degree. He then presented the specimens on a white background so as to show them clearly. He would often touch up his photographs with pencil to enhance features such as the stems or outline to improve the image for his students or touched up the background to remove blemishes which would distract from the specimen. Blossfeldt produced many images using his technique which captured the stunning, intricate detail of his subjects and presented them in an elegant yet unique, simplistic manner. I picked this video by Ted Forbes as it gives a good overview of Blossfeldt's work suggesting he combines 19th century aesthetic appeal with 20th century design and how he used early macro photography techniques to present his images.

"Nature educates us into beauty and inwardness and is a source of the most noble pleasure." Karl Blossfeibt (London Lifestyle - Discovering Success Interview | Designed by Nature)

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Selection of Blossfeldt images:

Shoot plan / Karl Blossfeldt This shoot was inspired by Karl Blossfeldt as I have been studying the way he creates abstracted forms from nature and I was very keen to emulate his style. The shoot will take place in the classroom and at home. I used the classroom because I can set up a light room and backdrop for High-Key Photography and at home I improvised by making a mini light studio. The props used will be natural forms such as seed heads and shells because these were commonly seen in Blossfeldt's work and provide contrasting textures, lines and forms which will make interesting, striking images. I will shoot in High-Key for the majority of my images using a combination of soft boxes, LED Lighting and also natural ambient light. I will need to control the lighting to avoid shadows and contrast. I will use the school camera (DSLR 4000d / Prime lens 50mm / tripod / UV filter and my own camera which will be a canon 4000D. The High-Key Softbox setup will need a camera aperture of f/22 and a shutter speed of 1“ (1 second); however on my own camera I will use these settings: Manual / Aperture priority / Shutter Speed / Auto. I intend to use a small aperture f/22 for a large depth of field and will shoot in sepia to give an aged look to the photoshoot.

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Shoot / Karl Blossfeldt

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Contact sheet/ Karl Blossfeldt To alter my Karl Blossfeldt pictures, I used the online picture altering programming PIXLR. When altering my images, I cropped the image to remove much of the background to ensure the viewer focused on the image itself. Here are some screenshots from the altering cycle: 1.cropping image and using rule of thirds

EDITING PROCESS / KARL BLOSSFELDT

2.using the magic tool the change background

3. adjusting the levels so we have the correct tone and contrast.

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9 Best Images:

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My Edited Overlay/Karl Blossfeldt I was able to explore the use of layers and overlays using PIXLR. Overlays are simply photos that are applied to photographs as an extra layer to incorporate textures and elements that were not there in the original shoot. I uploaded my original image to PIXLR and then added a new overlay using the 'add image as layer' tab.' I used the options 'Screen Overlay 'and Layer Transparency' to layer my edited Karl Blossfeldt styled image with a 'scratches & dust' effect. In order to promote the vintage feel to the picture, I added a subtle vignette to guide the viewer’s attention to the subject.

Animations:

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Motivated by Blossfeldt, I made a progression of slides using his and my own photography that were later saved as a mp4 video. Below are four of my best stills from my collection. I particularly like the third image as I think the two different colours create an interesting and aesthetically pleasing effect. Keeping with the same subject worked well and captures the style of Blossfeldt's work as it shows a magnified image of a fir cone. The two images on the left are less successful as the subjects are too far away and the fine detail cannot be seen clearly. The combinations of subjects in image four seems too cluttered and therefore does not capture Blossfeldt's style. Although Blossfeldt did not frame his work in the same way, I used the frame to focus the eye of the viewer, creating an interesting and aesthetically appealing image.

4 selected images:

Vintage frames: POWERED BY https://eleanorgcsephotographypghs.weebly.com/abstract-nature.html

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Framing the Animation

Artist Investigation/ Dennis Wojtkiewicz The final artist in the Abstract Nature project is Dennis Wojtkiewicz. This artist differs from my other artists because he emulates photographs of fruit and uses colour. However, there are similarities such as abstraction and natural forms. Dennis Wojtkiewicz was born in America and is most famously known for his photo-realistic paintings of a variety of fruits.

This video is inspirational to me because it showcases all of DW's greatest work and allowed me to explore his work further. I particularly liked the slice of grapefruit where the inner segments appear to be lit up from behind. This shows the intricate nature and elegant beauty of the segments, making them appear as delicate as the wings of a dragonfly. The segments are juxtaposed against the solid rind which serves to highlight the delicateness of the inner sections, creating a more visually appealing image for the viewer.

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Email Quote – Direct Artist Response I use a Canon EOS 90D camera with a Canon EF 100mm f/2.8 Macro USM fixed lens. The only reason I even know about the technology is because my colleague told me that's what I needed and would be the biggest bang for the buck. The rest of it is all by feel. I have absolutely no photo training. For me that suffices because I'm not hung up on technical stuff. Just looking for ways to capture information for my paintings. Dennis Wojtkiewicz / Jan 2021 The quote is from a direct email response from Dennis. Wojtkiewicz. From the email, I was able to understand what equipment & techniques he uses such as Canon EOS 90D camera with a Canon EF 100mm f/2.8 Macro USM fixed lens and backlighting. Moreover, I developed an understanding of the purpose of the photographs he took. Wojtkiewicz was not a photographer but took photographs of his subjects in order to support his paintings. Perhaps he found it easier to work from a photograph where the lighting and set up of the subject remained the same. I particularly like the way Wojtkiewicz used light, not only to create a bright image, but also to highlight the intricate details of the fruit segments.

Photographic Techniques / Macro Photography Dennis Wojkiewicz used macro photography techniques to capture his images. Macro photography enables a photographer to take up-close images. It is often used to take images of fruit, flowers and small insects, allowing the viewer to see these images from a totally different perspective. I think to get the best macro image, you would need a DSLR or CSC with a macro lens, supported on a tripod with natural lighting. The tripod would need to be sturdy and of good quality to make sure it holds the camera still while the picture is taken. Additionally, care would need to be taken to ensure the correct settings are selected to avoid blurred images. F/stops between f/8 and f/16 are often used to make should the correct depth of field is obtained. Macro photography gives the photographer the opportunity to explore the world on a completely different level. Creating abstract macro photography allows the photographer the chance to explore POWERED BY https://eleanorgcsephotographypghs.weebly.com/abstract-nature.html

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patterns, textures and other elements to make beautiful images not only of the subject, the focus point of the image, but also in the background. It is almost as if macro photography gives the photographer access to an new world.

Shooting plan: I was inspired to do a photo shoot about the work of Dennis Wojtkiewicz. I will be taking my photos under artificial light to illuminate the fruit segments on a glass table so that the light can shine through the background. After the fruit is cut thinly, the light can shine easily, creating a glass-pane affect. I’ll be using a tripod to avoid shadows and blurring for a more crisp finish. I will use a "1 second" shutter speed and an f/8 and a 2 second timer.

Contact Sheet

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Shoot

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Edited images:

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Evaluation:

The composition of the photo shows the corner of a kiwi segment covering most of the image. The viewer’s eye is led from the striking hairs on the surface of the kiwi to the skin and then around the photograph. Magnifying the hairs on the surface gives them a life of their own, making them appear like tiny insect legs. This I feel gives the image a slightly eerie feel. I have taken the photograph from above to focus the viewer’s attention on the detail of the segment. he light is placed below to highlight the detail in the segment T and create a stained glass effect. The photo has been taken from a short distance to remove most of the background, allowing the viewer to focus on one small section. This created an abstract image that added interest for the viewer.

The composition of the photo shows lemon seeds; however due to the abstract nature of the image, it is difficult to identify the subject. The viewer’s eye is led first to the black seeds, before moving to the rectangles and then to the rest of the photograph. Once again the juxtaposition of the straight lines of the rectangles against the curved lines of the seeds, adds interest. This is reinforced by the blurred effect of each lemon seeds which contrasts with the crisp lines of the rectangles. he rectangles are a mixture of light and dark tones and contrast with T the background where they sit. This serves to break up the image, forcing the viewer’s attention to flit from the natural composition of the lemon seeds to the artificially imposed rectangles. This perhaps makes the viewer reflect on the effects of the modern world on nature, particularly as the striking rectangles dominate the image. The photo has been taken from a short distance. This is so the seeds are the main focal point of the image other than the rectangles. The photo has been taken inside using artificial lighting which creates highlights underneath the kiwi. The abstract nature of image works fairly well as it gives the viewer the opportunity to explore some of the different textures in the image. However, the blurring of the seeds and the background has meant some of the detail has been lost. Creating a more focused image may have produced a more interesting image. POWERED BY https://eleanorgcsephotographypghs.weebly.com/abstract-nature.html

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Flat Lay Contact Sheet:

FLATLAY ROTATIONAL SYMMETRY OVERLAY:

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ABSTRACT SYMMETRY ROTATIONS:

ABSTRACT EDIT:

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Evaluation Initially, I researched the work of Edward Weston since he presented his subjects in a uniquely abstract way so the focus became the patterns and shapes produced in the final image, moving photography into a new era. His work mainly consisted of monochrome images as it allowed the viewer to focus on changes in tone and texture in a way that is more difficult in colour. In this project, I focused on Pepper No 30 as it created interesting shapes and changes in tone which capture the viewer’s imagination. The reflection of light from the funnel in which the pepper sat created interesting changes in tone, giving the pepper a almost human appearance. Through studying this artist, I was able to explore changes in tone with more understanding as well as develop new skills such as being able to effectively shoot in monochrome. I was also more aware of using the rule of thirds to create a balanced image and the effects of changing the shutter speed on the sharpness of the image. Finally, I developed a better understanding of high key and low key and their impact on the viewer.

Abstract Nature / Hand manipulation sample boards

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Evaluation I've benefited a lot from the work of Karl Blossfeldt. This includes key skills, such as setting up and using a tripod effectively, applying backgrounds, setting timers on my camera and studying how different types of lenses affect the final image. At school, I studied key vocabulary and explored different genres of photography. For the Karl Blossfeldt project, we concentrated on ‘high-key’ photography, taking shots with tripods, box lighting, 50mm prime lenses, variable shutter speeds, and a 2 second timer. High-key photography produces really vivid and crisp imagery, so we made light studios to help replicate Blossfeldt's portfolio of work. The secret to this style of shoot was the florescent lighting we used. In comparison, the Blossfeldt home-shoot was very different. I had a solid backdrop at school and access to florescent lighting; however at home I had a limited access to solid light backgrounds and the lights were very dim. As a consequence, to give my pictures a more emulative look, I used a piece of technology we didn't have in school: a Trigger and Set receiver. This technology meant that in my backdrop there were less creases as they were all faded out by the light, and it also helped me to get a clearer lighting quality for my pictures. When I pressed the button, the LEDs were extremely bright. This was very useful to me and introduced me to more technical facilities. The home shoot was not easy, so it furthered my adaptability as a photographer. Furthermore, I feel I have developed my knowledge of PIXLR and the advantages and limitations of using this type of editing software. When editing, I used the cropping tool many times to maintain the emphasis (focal point) on the subject matter of my images. There were also other resources I used to fix the colours of some of the backgrounds, such as the magic wand, selection tool and adjustment filter. This project helped me developed a good understanding the editing tools available to transform the final image and I gained more confidence at using them to create a desired effect. I think my most promising result, however, was in using overlays as they produced some dramatic effects, particularly by creating changes in textures and giving the image a vintage feel. Furthermore, using overlays helped me gain confidence in photo editing as I was able to create some successful shots by using them. The subject matter of the shoots was based on my theme of Abstract Nature. This meant that my shots showcased the natural beauty hidden within nature. The photos were not overly cluttered as I simplified the background so the viewer’s eyes were drawn towards the focal point of the image. I was also pleased with the composition of my final designs. Overall I believe my biggest strengths were my presentation skills as I feel I have created a detailed account of my project. I also feel I have researched the project well, exploring a number of sources to inform my project. As the project developed, I became better at analysing the work of artists as well as my own work as I developed a better understanding of the elements of art and components of design. I think I could improve my project by looking at some of the photographers in more detail such as the fashion photographer Horst P. Horst and the work of Anna Atkin. Due to time constraints, my research here was quite brief. Overall, I feel my editing was satisfactory and I grew in confidence as the project developed. However, the overlays worked well and gave confidence in photo editing. The overlays increased the texture of the image as well as creating a more vintage feel. Therefore, I feel they were POWERED BY a great strength to the project as they added significantly to the aesthetic appeal of the images. The subject matter of https://eleanorgcsephotographypghs.weebly.com/abstract-nature.html

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the shoots was based on my theme of Abstract Nature. This meant that my shots showcased the natural beauty hidden within nature. The photos were not at all overly cluttered which allowed the viewer to focus on the subject, I applied the rule of thirds and thought carefully about the composition to ensure I created a balanced image. I enjoyed exploring nature through the art of photography and feel I have learnt many skills I will use in the future.

Sources Abstract Nature

7 types of lines in photography and how to use them, The Lens Lounge, https://thelenslounge.com/lines-in-photographycomposition/ Anna Atkins Cyanotypes YouTube video, https://www.youtube.com/watch?v=pH3onQbfzc4 Anna Atkins, https://www.moma.org/artists/231 Artist Edward Western, https://www.icp.org/browse/archive/constituents/edward-weston?all/all/all/all/0 Blossfeldt, Karl, London Lifestyle - Discovering Success Interview | Designed by Nature https://designedbynature.co/blogs/news Burdon, Russ, Using Line in Photography, https://www.outdoorphotographer.com/tips-techniques/photo-tip-of-week/using-linesin-photography/ Cox Spencer, Understanding Texture in Photography, https://photographylife.com/texture-in-photography Edward Western – Bibliography and Legacy, The Art Story, https://www.theartstory.org/artist/weston-edward/life-and-legacy/ Edward Weston Video YouTube, https://www.youtube.com/watch?v=eFd5h0JRdKg Edward Weston: PO (Icon Series) by Manfred Heiting Publisher: Taschen (Book) Elements of Art https://www.bbc.co.uk/bitesize/topics/z9kmhyc Elements of Art in Photography https://anadventureinawesome.com/2020/05/01/elements-of-art-in-photography/ Horst P. Horst – an introduction, https://www.vam.ac.uk/articles/horst-an-introduction How to Used Repetition in Photography Compositions for Maximum Impact https://shotkit.com/repetition-photography/ Kennedy, Megan, What is Shape and Form in Photography, https://digital-photography-school.com/shape-and-form-inphotography/ Mapplethorpe, Robert https://www.tate.org.uk/search?q=robert%20mapplethorpe&type=artwork&page=2 Natural History Museum, https://www.nhm.ac.uk/discover/anna-atkins-cyanotypes-the-first-book-of-photographs.html Patterns from Nature, https://flowermag.com/1234/ Perfect Your Photographs with the Seven Elements of Art https://fstoppers.com/education/perfect-your-photography-using-sevenelements-art-599278 Peterson David, Visual Design: Using Texture in Photography, https://www.digital-photo-secrets.com/tip/2803/visual-design-usingtexture-in-photography/ Peterson, David, Visual Design: Using Shape in Photography, https://www.digital-photo-secrets.com/tip/2776/visual-design-usingshape-in-photography/ Principles of Design Elements of art - GCSE Art and Design Revision - BBC Bitesize Seven Elements of Design every Photographer should Know 7 elements of design in photography every photographer should know – The Lens Lounge POWERED BY https://eleanorgcsephotographypghs.weebly.com/abstract-nature.html

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Seven Principles of Design in Photography https://www.slrlounge.com/7-principles-of-design-in-photography/ Studying the Masters: Edward Western, https://codyschultz.com/journal/edward-weston-master-of-still-life-fine-art Texture in Photography the Ultimate Guide https://www.photoworkout.com/textures-in-photography/ The Seven Elements of Art https://onlineartlessons.com/tutorial/7-elements-of-art/ The Ultimate Guide to Abstract Photography https://expertphotography.com/complete-guide-abstract-photography-112-tips/ Thinking outside the box with abstract photography https://www.adobe.com/creativecloud/photography/discover/abstractphotography.html Western Gallery, https://www.westongallery.com/original-works-by/edward-weston Wojtkiewicz, Dennis, https://www.youtube.com/watch?v=feo2Pou75_E Wojtkiewicz, Dennis, personal email from Dennis Wojkiewicz

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