LP - Abstract Nature - Candidate Number 3104 - 46725 – PGHS by missmorrispghs

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Abstract Nature - LUCY POWELL / GCSE PHOTOGRAPHY

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LUCY POWELL / GCSE PHOTOGRAPHY

Abstract Nature Personal Project 1

PERSONAL PROJECTS: Abstract Nature

Understanding Abstraction Abstraction is a non-objective form and takes place when a photographer focuses on a fragment of a natural scene, isolating it from its context - there is no exact definition, the photographer has complete freedom. In abstract photography it is important to consider colour and form, for these are important, as they create the bulk of the photograph and keep the attention of the viewer for longer. It is also important to consider texture, shape and line as this can create further visual interest, confusion and/or intrigue. These textures can be made interesting through the correct use of lighting and value. Light can also create shadows and enhance lines and shapes. It is also vital to consider space when preparing to take a photograph because as an abstract photographer it is key to find and create new ways of looking at objects. In abstraction photography, it is useful to consider the principals of design as well as the elements, such as repetition. Repetitive patterns work well because they make for great shots and also add emphasis to other elements such as texture and colour. Additionally, movement is important, because it is the path the viewers eye takes through a piece of art, often to a focal point - this can be created through leading lines and shapes.

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Understanding 5 Elements and 2 Principles of Design Line in photography is a point that naturally leads the viewer's eye towards something. These are not always obvious, and some are implied - there can be vertical, parallel, curved, diagonal and horizontal lines.

Shape in photography is limited to two-dimensions, it can be constructed with other elements like line and colour. These shapes can be geometric or natural.

Colour in photography creates the bulk of an image and attracts the viewer, grabbing their attention and making them intrigued.

Texture in photography refers to the surface quality of an object in an image. From the correct use of texture, the viewer should be able to identify the way the object feels, just from its appearance.

Positive Space in photography refers to the subject or areas of interest in an image. Whereas N egative space is the background or the area that surrounds the subject of the work.

Contrast in photography is the difference between two or more elements in a composition and how they can complement each other with respect to size, value, colour e.t.c.

Pattern in photography is the repetition of lines, shapes, forms or colours - these can be regular or irregular. The inclusion of pattern creates a stronger image that gains attention.

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Investigation of Elements and Principles of Design Although I have identified 5 elements and 2 principles of design, in total there are 7 Elements of Photography (line, shape, colour, tone, texture, space, form) and 7 key Principles of Design (balance, emphasis, movement, pattern, contrast, rhythm and unity). Tone is one of the 7 elements of design and refers to the lightness or darkness of an image, tone can create a sense of depth or distance in a photograph. Form in design is very similar to shape, as they are both constructed with other elements and can be natural or geometric (irregular or regular). Balance is the distribution of elements such as: colour, texture, and space - these should be balanced to make a photograph feel stable. Emphasis is the part of the design that catches the viewer’s attention. Usually the artist will make one area stand out by contrasting it with other areas. The area could be different in size, colour, texture and shape. Movement is the path taken by the viewer's eye through a photograph, often to a focal point, this can be created through lines and shapes. Rhythm in design refers to the relationship between elements that creates a sense of harmony, this can be achieved through use of pattern and repetition of forms. Unity in design is how well the elements work together to create a sense of a final image. For my first investigation, I have chosen to look at the use of texture within nature. Here are 20 images where I try to emphasise the use of texture in nature.

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SHOOT / INVESTIGATION OF ELEMENTS (Line/Pattern/Tone) CONTACT SHEET:

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For my shoot, I used my DSLR camera with the Kit lens and changed the settings to monochrome with an f/4.5. During my shoot, it was very overcast and damp after heavy rain. this resulted in water drops in my photographs, adding texture. I used a variety of vantage points such as worm's eye and ground level but overall, my photographs are taken close up. From this experience of shooting outside, I learnt that natural forms are emphasised in beauty with the use of the monochrome setting.

BEST IMAGES:

I believe this image is successful because of the dynamic movement of line and pattern. The shallow depth of field brings clarity to the abstraction of the focal point. Whilst editing this photograph, using Pixlr, I adjusted the curves, tint and levels. I used an arial vantage point, the natural light captured, caused the water droplets to be enhanced and the image to be in focus.

I feel this image is successful because of the simplification and dynamic framing. The use of detail, form and texture add to the abstraction of the plant. The shallow depth of field in this image allows the water droplets to be in focus. Using Pixlr, I post-edited the image's levels, curves, exposure balance and tints. This has added greater complexity to the images tonal range.

The aperture setting of f/4.5 brings a

clear focal point to this abstract image and I am very pleased with the final result.

I feel this image is successful because of the way the shallow depth of field isolates the focal point, making it abstract. The distortion of the background and use of shape draws the eye to the central leaf. Using Pixlr, I post-edited the image's curves, exposure, brightness and tints. This has added greater complexity to the images tonal range and contrast. The aperture setting of f/4.5 brings a clear focal point to this abstract image and I am very pleased with the final result.

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I believe this image is successful because of the striking and dynamic movement of line, strengthening this complex image. The contrast and use of pattern brings clarity to the line and abstraction of the image. When editing this image, using Pixlr, I adjusted the curves, tint and brightness. I used a straight angle when taking this photograph this perspective captured the natural light coming through the plant and created a wider tonal range.

ARTIST INVESTIGATION / EDWARD WESTON "Don’t be repressed in your work, dare to experiment, consider any urge, if in a new direction all the better.” – Edward Weston

// To begin my Abstract Nature Artist Investigations, I will initially study the work of Edward Weston because I am fascinated with his photographs of abstract forms shot in low key lighting situations. I am inspired by his close-ups of natural forms such as peppers, cabbages and seashells. // Edward Weston was born in America in 1886 and was known for his abstract photography style and taking his pictures using a view camera and processing them in a dark room. Weston died before the digital camera was invented. // I chose this inspirational quote because it typifies Weston's creativity and experimentation, his confidence to go in a new direction in regard to photographic style, pays off massively with his unusual yet fascinating final images. This links in well with my project on abstract nature. // This video is inspirational to me because it signifies Weston's range in genre. In particular, the examples in this video show Weston's still life, abstract and landscape images - a wide variety of his work. // Below are a selection of 10 Weston images that are inspirational to me because they highlight the creativity and boldness of Edward Weston.

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SEMI ANALYSIS / EDWARD WESTON Subject: The Photographer of this image is called Edward Weston and its title is 'Pepper No. 30' which dates back to the 1930's. It depicts a solitary green pepper in rich black-and-white tones, with strong illumination from above. The genre of this photograph is abstract and still life. The prop I see in this picture is one deformed green pepper with attractive textural qualities. Elements: The composition of the photo shows an isolated, abnormal-shaped pepper, central and in foreground. The viewer’s eye is lead around the photo because of the composition and elements Weston has highlighted, such as the dynamic lines in the pepper, abstract forms and framing. The perspective that Weston has taken the photo from is at eye level, this is effective because it captures the light coming in at an angle, emphasising the abstract shape of the pepper. The Photographer employs a range of visual elements in his work. Some of the most striking elements are form, line, texture and shape these are used to magnify the majestic focal point in this image. Media: The photo has been taken from a short distance so there is no unnecessary background and just one prop in the main field of view. This is so the pepper is the main focal point of the image. By doing this the viewer’s eyes are immediately drawn to the pepper in the foreground. The photo has been taken in a studio, using a funnel or pot as the backdrop and captures the image with natural light. The light source is coming in from above the subject, at an angle which highlights the shape and form, whilst creating shadow to exaggerate the texture of the pepper. To emulate this photograph myself, I would use an analogue camera with film and have my shoot take place in a studio. Additionally I would also need to research developing my images and editing using chemicals and a dark room. Intent: I feel the photo coveys a feeling of calm but it is also expressive, with the subject almost emulating the shape of a human figure. It does this by the dynamic movement of line and curved forms; the shadows created add depth and further abstraction. I believe this image is particularly relevant to my project of 'abstract nature' because the photographer has considered form which is important as it creates the bulk of the photograph, and has isolated the subject from its context making it more abstract.

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SHOOT PLAN / EDWARD WESTON This shoot is inspired by Edward Weston’s Bell Pepper No. 30 because of its abstract form. I intend to take this shoot indoors and will make sure the natural light is controlled by adjusting the blinds in the room. The props I will be using are: a plant pot, a series of vegetables (selected based on their textural and abstract qualities). The plant pot will create framing, to best emulate the work of Edward Weston. When considering lighting I will experiment using low-key photography as this is similar to the later work of Weston. I will use soft natural light, coming in from the window, and my subject will be side lit. I may also have to adjust the white balance setting on my camera to compensate for the indoor shoot. The equipment I intend to shoot with is a DSLR Canon 200D camera, using a kit lens on a tripod because the camera needs to be steady, to capture the texture in the subject. The camera will be set to aperture priority and I will use a small aperture f/22 for a large depth of field. Like Weston, the shoot will be shot in monochrome.

SHOOT / EDWARD WESTON CONTACT SHEET:

Original Images:

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BEST 4 IMAGES:

Most Successful Image: I feel this image is successful because of the way the shallow depth of field isolates the focal point, making it abstract. The dynamic form and use of shape draws the eye around the cabbage. Using Pixlr, I post-edited the image's curves and levels. This has added greater complexity to the images tonal range and contrast. The aperture setting of f/4.5 brings clear contrast to the dynamic form of the focal point and I am very pleased with the final result.

ABSTRACTION THROUGH CYANOTYPES / ANNA ATKINS nna Atkins was an English botanist and photographer, born in A 1799. Some sources claim that she was the first woman to create a photograph. Atkins was best known for her cyanotype work. The advantages of the cyanotype process are that it is relatively cheap and easy to use and you don't need a darkroom or any complicated equipment. However, a disadvantage of this process is that it requires sun light to develop the images which could cause problems if you were in a dark, overcast or dull environment.

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Here are my cyanotypes that I made in lesson. I really enjoyed this technical process because it allowed me to be creative and experiment with photo sensitive materials, whilst learning more about exposure. I was very happy with the abstract and decorative outcome.

HORST P. HORST / THE UNFAMILIAR AND ABSTRACTED 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. Here are some of my examples:

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Rotational Images Final Examples

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ARTIST INVESTIGATION / KARL BLOSSFELDT // After studying the work of Edward Weston, Anna Atkins and Horst P. Horst I will now further my research into Abstract Nature by looking at the work of Karl Blossfeldt. // Karl Blossfeldt was born in 1865 and was a German photographer, he is most famously known for his close-up plant portraits and high key photography of natural forms. Blossfeldt often uses close-up vantage points with the focal points central making it easier for the viewer to

My botanical documents should contribute to restoring the link with nature. They should reawaken a sense of nature, point to its teeming richness in form, and prompt the viewer to observe for himself the surrounding planet world - Karl Blossfeldt

explore the shapes and forms of the subject. Blossfeldt uses contrast in his work by using dark tones on the subject but lighter tones in the background (high key) so that the focal point stands out more. // I chose this inspirational quote because it typifies the work of Blossfeldt because it shows his appreciation of the natural world and his wish to inspire viewers to observe the world themselves. This links in well with my project on abstract nature. // This video is inspirational to me because it shows impressive examples of Blossfeldt's macro photography of abstract forms with great detail and texture.

Below are a selection of Karl Blossfeldt images:

SHOOT PLAN / KARL BLOSSFELDT This shoot was inspired by Karl Blossfeldt because I have been researching and admiring the way he celebrates abstracted natural forms in his photographs and I was eager to emulate his work. This shoot will take place in the classroom and at home for homework, I will use the classroom because it is a well adapted environment to set up a suitable lightroom for High Key Photography and at home I will improvise by setting up my own mini studio with a backdrop and lighting. The props used will be natural forms such as seed heads, coral, and leaves because these emulate the work of Blossfeldt well and provide good texture, form and line. he lighting condition I will experiment with is High Key because most of Blossfeldt's work uses this technique, I will try and achieve T this outcome by using a combination of soft boxes, LED Lighting and natural ambient light. My subject will be front lit and I will have to try and control the lighting to prevent any shadows or contrast in my composition. I will the use the DSLR 4000d, school camera with a 50mm Prime lens and attached to a tripod, and my own DSLR 2000d camera with the Kit lens, also on a tripod when doing my home shoot. My camera setup will need a small aperture of f/22 and a slow shutter speed of 1", also I will shoot in sepia to give an aged look.

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CONTACT SHEETS / KARL BLOSSFELDT

HOME SHOOT / KARL BLOSSFELDT

EDITING PROCESS / KARL BLOSSFELDT To edit my Karl Blossfeldt images I used the online image editing software PIXLR. When editing my images, I focussed on three key areas: cropping, adjusting the background, and amending the levels of the image. Here are some screen shots of this editing process. 1. Cropping the image using the rule of thirds:

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1. Using the crop tool to adjust my work to fit the rule of thirds

2. Using the magic wand tool to select and edit the background

. Adjusting the levels of the image for the correct range of tones 3 and contrast:

9 BEST IMAGES / KARL BLOSSFELDT

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ANIMATION / KARL BLOSSFELDT HOME

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MY EDITED OVERLAYS / KARL BLOSSFELDT sing PIXLR, a free digital editing software, I was able to U experiment with overlays. Overlay's are images that are added as an additional layer in order to add elements that were not there in the original image. I uploaded my initial image onto PIXLR then added an overlay, with interesting textural features, using the 'add image as layer tab', Then, I used the 'Screen Overlay' and 'Layer Transparency' options to layer a 'scratches & dust' effect onto to my edited Karl Blossfeldt photograph. I added a subtle vignette to further the vintage feel to the image.

EXAMPLES OF OVERLAYS:

MY OVERLAY EDITS:

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nce my overlays were completed, I then uploaded the images onto PhotoFunia, another online editing platform. Using the 'Vintage O Photo' tool I edited my favourite images, my best examples have been framed below.

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MY BEST EDITS:

Best Edit from Animation Stills

Best Edit from Overlay Editing

Karl Blossfeldt Evaluation: Whilst studying the work of Karl Blossfeldt I have gained an understanding of High Key Photography and have developed my skills in this area, completing two photo shoots effectively mirroring the photographic style of Blossfeldt. My 'in school' shoot allowed me to access and set up a light box, DSLR, tripod, background and the use of a 50mm prime lens. This equipment helped emphasise the contrast between the focal point and the background. Furthermore, my tripod, slow shutter speed settings and 2 second timer resulted in crisp, sharp and stabilised images, and the sepia tint evoked the vintage appearance of the photographer's original images. In contrast however, my home shoot was significantly more challenging because I had limited props to assist me when preparing my compositions. Consequently, I had to become inventive with the resources available to me; I generated as much light as possible with a combination of natural light and dim, kitchen spotlights (ambient light). When arranging my focal point, I used the rule of thirds grid to ensure the composition was restful and balanced as with my shoot in school. The home shoot wasn't easy however my skills were developed as it tested my adaptability as a photographer. Then, during the post-edit phase, I explored the free online editing suite PIXLR. I used the cropping tools to enhance composition and to draw attention to the subject matter and focal point. There were also other tools such as the magic wand and the selection tool for which I used to correct background colour. Furthermore, I changed different aspects of the photo individually and this was useful because I could give certain sections, like the focal point, a more sepia tone. PIXLR has many functions and I tried a wide variety of filters, image adjustments (such as colour temperature and contrast) and overlays. Afterwards, I used Photofunia to edit my photos by adding vintage framing and sepia filters. Photofunia allowed me to access a range of ‘graphic assets’ to suit my project’s needs. I believe my most successful outcome was the compilation of the 9 edited images. This is because I learnt basic editing techniques that I now will feel more confident with when using in future projects. These are my most successful outcomes as they were crisp, sharp and unified. Also, they followed the rule of thirds, had good simplification and clear contrast. The 'High Key' photography technique was critical for the shots and I feel I demonstrated a good level of exposure within the shoot. I believe I definitely have some areas for improvement such as enhancing my contact sheet and I need to spend more time analysing my images before the editing process. Additionally, I need to improve on the exposure of my shoots and go into more depth when researching artists. Also, I should experiment with my camera’s functions and settings as I am yet to discover all of its features. This however, is something to improve on throughout my GCSE Photography course of study.

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ARTIST INVESTIGATION / DENNIS WOJTKIEWICZ 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 Wojkiewicz / Jan 2021

The final artist in the Abstract Nature project is Dennis Wojtkiewicz. This artist differs from my other artists because his mouth watering, photorealistic images convey a variety of warm and cool hues. However, there are similarities in his use of back lighting and restful compositions. Dennis Wojtkiewicz was born in 1956 in Chicago, Illinois and is most famously known for his detailed large-scale paintings of fruit and flowers. His work captures natural forms in a way that highlights their shape and texture, while maintaining a complementary balance of colour. His website is: www.wojtkiewiczart.com The quote is from a direct email response from Dennis Wojtkiewicz himself. From the email, I was able understand what equipment & techniques he uses such as a DSLR Canon 90D camera with 100mm f/2.8 Macro USM fixed lens. This video is inspirational to me because it portrays his macro photography and how the chroma is very harmonious but still contributes to the striking contrast that makes his work so interesting. The focal points in his artwork are very minimal resulting in an overall simplistic composition. Below are a selection of 10 Dennis Wojtkiewicz images:

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PHOTOGRAPHIC TECHNIQUES / MACRO PHOTOGRAPHY Macro photography is extreme close-up photography, usually of very small subjects in which the size of the subject is magnified sufficiently and the photograph is greater than life size. To achieve a professional level macro photograph, a macro lens can be purchased for a DSLR camera. However, these can be expensive, so there are cheaper alternatives that you can use to try and get a similar final result in your images. For example: a reverse ring, a magnifying glass, lens ball or a drop of water on a smartphone lens.

SHOOT PLAN / DENNIS WOJTKIEWICZ I have been inspired to create a shoot on the work of Dennis Wojtkiewicz because his work highlights the beauty of natural forms and this links in well with our project, abstract nature. The artist manages to capture a sense of balance, which you can see in his imagery, and I hope to emulate this in my shoot. My shoot will take place indoors, so I can control the back lighting of the fruit and capture the colour, texture and shape in the minimalistic forms. The props I will be using are citrus fruits, most likely lemons and limes for their translucent properties. I plan on using a table lamp under a piece of glass from a photo frame to achieve the same back lit effect as the artist. For my shoot, I intend on using my DSLR camera with a reverse ring, my kit lens and tripod, to stabilise the camera whilst getting high quality image results. To achieve these results, I plan on using a wide aperture of f/10 and a slow shutter speed of 1" to allow a lot of light and detail - also I will use a 2 second timer to reduce camera shake from the tripod, and have a low ISO for better quality images.

CONTACT SHEETS / DENNIS WOJTKIEWICZ

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POST EDITING / DENNIS WOJTKIEWICZ

Editing Step 1: In this clip, I used the adjustment tools to enhance the colour, saturation and contrast within my images. This helped me to amend my expose and bring forth fine detail within the fruit.

Editing Step 2: In this screenshot I removed the background from my original image, using the lasso and feathering tools. I then placed the fruit on a plain, white background to emulate the work of Dennis Wojtkiewicz.

Editing Step 3: Using PIXLR I arranged the fruit in a dynamic composition: duplicating, rotating and presenting the fruit.

Editing Step 4: Finally I adjusted the hues and saturation of select pieces of fruit, further abstracting my final image.

ROTATIONAL DESIGNS / DENNIS WOJTKIEWICZ sing rotational symmetry and the work of Horst P. Horst I have created a series of rotational designs using the abstract elements of U shape, colour, form, tone, repetition and harmony. I will develop these further using PIXLR.

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FINAL EDITS / DENNIS WOJTKIEWICZ Original Image:

Edited & Rotated:

Further Edits:

ABSTRACT NATURE / FINAL EVALUATION Throughout this project I have developed my understanding of abstract photography by exploring the theme of nature. Initially I researched the work of Edward Weston, I found his low-key imagery inspiring and thought he captured the natural forms’ texture beautifully. Through studying this artist, I was able to explore concepts of line, shape and harmony in my own photography examples. I found Weston’s ability to highlight the movement and contrast within the focal points intriguing and I tried to emulate this throughout the project. Inspired by their work, I created a series of emulations by photographing natural forms - with interesting textural qualities - in monochrome. I investigated the technical processes of low-key, studio, controlled lighting – similar to the later work of Weston. Edward Weston’s work helped me understand the theme of abstract nature through his framing of dynamic, unusual natural forms and his use of a shallow depth of field which isolates the focal point, making it abstract. I then researched the 19th century English photographer, Anna Atkins, who’s work I find inspiring as she is believed to be the first woman to create a photograph. Through studying this artist, I was able to explore concepts of line, shape and balance in my own cyanotype examples. Inspired by Atkins, I created a series of cyanotype emulations. I really enjoyed investigating this technical process because it was completely new for me and allowed me to experiment with photo sensitive materials, whilst learning more about exposure. Their work helped me understand the theme of abstract nature through the exposure of the natural forms and the clear contrast, highlighting the line and shape of the focal point. Afterwards, I studied the fashion photographer Horst P. Horst, who created rotational symmetry patterns and inspired me to create my own series of emulations using my work so far and digital manipulation. These rotational adjustments identified the abstract qualities and amplified the unity and rhythm within the pattern and consequently the dynamic composition. Next, I researched the German photographer, Karl Blossfeldt, I found his appreciation of the natural world, as well as his wish for others to observe the world, inspiring and thought he linked in well with my project. Through studying this artist, I was able to explore high-key, close-up and direct approach in my photography examples. Inspired by Blossfeldt’s work, I created a series of 9 emulated images using my DSLR Camera, prime lens, transverse tripod, white back drop and soft boxes. I investigated the high-key photography technical process and had to adjust my camera ISO, aperture and shutter speed settings, also change to a sepia tone. Furthermore, I had emphasise the restful composition by using a close-up yet direct vantage point. Moreover, using PIXLR and Photofunia, free digital editing software, I was able to experiment with overlays. Overlay's are images that are added as an POWERED layer BY in order to add elements that were not there in the original image. I added an overlay with interesting textural additional https://lucygcsephotographypghs.weebly.com/abstract-nature.html

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features, then added a subtle vignette filter to evoke the vintage feel of the image.

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Finally, I researched the artist Dennis Wojtkiewicz because I was inspired by how he differs from the other artists I have studied. This artist differs from my other artists because his flat lay, sharp, photorealistic images convey a variety of warm and cool hues. However, there are similarities in his use of back lighting and restful compositions. Inspired by Wojtkiewicz’s work, I created a series of pastiches by taking shots indoors to control the back lighting and capture the colour, texture and space in the minimalistic forms. I used translucent, citrus fruits as demonstrated in DW’s work and mirrored his layering technique - meanwhile capturing the forms using a macro lens. Their work helped me understand the theme of abstract nature by isolating the focal point from its context to convey the beauty of the elements within the abstracted natural form. In conclusion, I believe my most successful outcomes for this project were my series of 9 high-key images inspired by Karl Blossfeldt because they work well together, are edited well and are uniform. They follow the rule of thirds and have a good use of symmetry and successful contrast. My areas to improve are to enhance my contact sheets, adding more analytical notes to improve my work and to practice more with my camera, understanding and experimenting with the settings to enhance my confidence with a camera and hopefully improving the creativity within my work.

ABSTRACT NATURE / HAND MANIPULATION SAMPLE BOARD

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