Tom Arthur A2 photography Impossible Photography Investigating and producing photography which, through photo manipulation or setting up shots in a particular way, appears to be in violation of real world physics.
Defying Gravity Introductory research For this section of my project I will be investigating and producing photography that pertains to the theme of gravitational defiance. During my previous photography projects I have experimented with photograph manipulation and gained a prolific knowledge of the techniques needed to produce edited images that reflect the work of different photographers who may or may not use photo manipulation in their own work. I intend to use both this technique as well as well-aligned photo shoots to achieve results that appear to be defying gravity. I shall be researching existing photographers that use these techniques in their own work and adapting their work as well as creating some of my own photographs from original ideas.
Li Wei Photographer research and analysis
Lie Wei is a Tokyo born photographer who始s photographs depict scenes of impossible feats, often to do with gravitational defiance. Wei makes use of photo manipulation software to achieve the effects seen in these images by taking multiple photographs of separate subjects and merging them into a single layer to coincide with each other in a manner which appears to defy the laws of physics. The same technique will be employed in my own work, as I will be setting up photo shoots along with taking the corresponding background photographs needed to achieve Wei始s unique style.
Analysis Lie Weiʼs photography often depicts humorous imagery, in the photograph a mother is holding a baby whilst sitting on a girder of a highrise building being constructed, this seems incredibly out of place and is not a sight expected to see. The lighting effects of the man who is “blowing in the wind” Wei presumably achieved through taking a photograph of the man lying down whilst arranging front-lit lighting to mimick that of the sunlight in the original photograph of the semi-constructed building. The atmosphere of the image is one of danger, however the emotions portrayed in the image are arguably light-hearted humour and freedom.
Analysis This photograph differs from the humorous atmosphere of the previous two and instead appears to portray the emotion of feeling trapped. The low key lighting reflects the darker tone of the image and the fact that the man is restrained instead of flying could show how he is not able to reach his full potential despite his effort. The colours and lighting play a major role in establishing the theme of the photograph. The use of yellow and black contradict that of the other photographs I have analysed.
Defying Gravity Analysis Li Wei In this photograph Wei has portrayed a group of people in the act of flying. The background of the photograph is of a regular Japanese city. The lighting in the photograph is reasonably high and natural, it is interesting to note the clouded sky, as the aspirational themes of the photograph seem to suggest freedom and success; two things that contradict the inclusion of clouds as they typically have connotations of doubt and indecisiveness, however the reason behind this may be to achieve a sense of realism that would make the act of flying seem commonplace. The photograph also portrays camaraderie and solidarity, it could be interpreted as having the message of “no man is an island� as together the people can fly. The clothing the models are wearing show a wide range of colours Wei is known for his photograph manipulation and he presumably used several different photo-shoots to achieve all the subjects in the photograph at the same time,
Defying Gravity Analysis Erik Johansson This photograph by Erik Johansson, entitled , depicts the effectiveness in post-process editing in portraying the notion of weightlessness. Incurring a semi-sepia effect, the colour-composition of the photograph gives the impression of an old-fashioned black and white photograph through the application of a warming brown filter and the adjustment of the saturation to an extremely low level. The composition of the photograph has the foreground at the bottom left, the subject in the central top area and the background towards the centre of the photograph, displaying a comprehensive range of focal points and depth of field. The lighting is natural and dull and the portrait composure of the photograph allows for an equal balance of sky and ground in the photograph which seems to represent the dual opposing themes of freedom and captivity Johansson has portrayed within the photograph. The atmosphere of the photograph appears to be rather mundane, while the high contrast levels give it a dark and even bleak tone, this, in addition to the ropes tethering the house to the ground, opposes the conventional tone of freedom that is often associated with photographs pertaining to the theme of levitation.These contrasting elements give the photograph an interesting duality that stands apart from the typical style of weightlessness photography. As with several other photographs from Erik Johansson, the manipulated image is the outcome of two or more photographs being merged together in post-process rather than through the use of wires in suspending the building off the ground. It could also be interpreted that another theme of the photograph is isolation; the house in itself appears only large enough for a singular resident and the photograph is devoid of any life. In addition to this, the tethers that are holding the house to the ground are preventing any escape from the situation. Another interpretation of the photograph is that it portrays the theme of isolation as the house itself appears only large enough for a single resident It looks as though the foundations of the house can be seen in the background of the photograph, the inclusion of this may be to personify the house and show how it has tried to escape from it始s purpose. The unusual black front door of the house has ominous colour symbolism, this coupled with the colour of the photograph creates an uneasy tone.
Responding to Wei and Johansson始s work Here is an example of how I have used the theme of defying gravity in my own work. I was able to create a minimalistic photograph with the two clear focal points, the balloon and the aerial. By taking another separate photograph of a figure sitting on a chair and paying attention to the natural lighting of the original photograph, I edited this photograph and removed everything but the figure themselves. I then cut the section of the image and pasted it into the original photograph to give the impression that the figure is sitting on the hot air balloon.
Sam Taylor-Wood Photographer research and analysis
English photographer Sam Taylor-Wood creates self-portrait photographs that often depict levitation, it is said that these portray significant events in her life and are markers for change or progression. The autobiographical images depict different emotions such as happiness and despair and vary quite significantly in elements such as lighting and colour in order to portray emotion.
Analysis 1 Taylor-wood始s balloon photography is a good example of images that defy physics. This photograph in particular seems to portray isolation; you cannot see the subject始s face and the fact that the balloons appear to be dragging her away gives the photograph a nightmarish quality. Low key lighting is used for the photo-shoot, obscuring the background completely and only showing the wood panelled floor in a spotlight manner, suggesting it could take place upon a stage. The colour symbolism of the red balloons implies danger and the mood of the photograph is not one of happiness. The photo was taken by suspending the subject on wires, when I imitate this style this method will not be possible so I will use photo manipulation software to achieve a similar effect of weightlessness.
Analysis 2 In contrast to the earlier example of Taylor-wood始s photography, this photograph has a much lighter mood. The photograph seems to portray a state of calm. There is a much greater use of lighting that contributes to the change of atmosphere significantly. The fans, white painted wall and visible sky give the photograph a feeling of freedom rather than the claustrophobic tone of the previous image. A recurring theme of minimalism is seen throughout her work on levitation and the colour white in particular seems to denote purity or peace. As with the previous photograph, the subjects face is covered and she is not fully clothed. This could be interpreted as the nakedness of her emotion.
Analysis 3 This photograph features a similar background to the first image while also featuring the same imagery through use of balloons. In these respects it is similar, however the colours of the balloons are less harsh as is the pose in which the subject is posing. This is also the only photograph of the three I have analysed that shows any part of the subject始s face. The pose that the subject is in suggests to me a feeling of submission or even destiny. In this photograph it is also worth noting that the subject is fully clothed, as opposed to the other two. This could suggest that she is less vulnerable, which would appear to coincide with the other features of the photograph; it seems as if the same scenario is taking place as in the first photograph yet her feelings towards it have changed.
Optical Illusions Introductory research Optical illusions are physically impossible objects and scenarios that are created by deceiving the way an image is processed by the eye to give a visual perception that cannot be comprehended, thus they are paradoxic in nature. Although there are many different types of optical illusion that can be achieved, such as physiological and cognitive illusions, the areas that I will be focusing on are depth perception, perceptual organisation and colour / brightness illusions. Depth perception illusions are achieved through creating two dimensional images that the eye will attempt to process as a three dimensional image. Colour and brightness illusions rely on colour constancies. The way in which we perceive familiar objects as having a consistant colour regardless of the amount of light applied to it means that objects that are the same shade as each other can be seen as having different shades. Perceptual organisation illusions make use of the way we organise and make sense of incoming information. These types of illusions usually present the viewer with two or more possible combinations for interpreting the shapes.
Chessboard Illusion Depth perception illusion research
Researching the chessboard illusion The chessboard illusion to the right is an example of depth perception illusion. By viewing either the top or the bottom of the image, the chessboard can be perceived as either being shown from a high angle or a low angle. Although I have seen 2 dimensional versions of this illusion, I have not seen any recreations of it through photography and this is something that I am eager to explore.
Using the chessboard illusion in my own work To the right is an example of how I have recreated this optical illusion through photography. By taking a photograph of the chessboard from a high angle, with the black pieces arranged on top I established the initial image that I would use for the illusion. Afterwards, I took another shot of the chessboard from a low angle, with the white pieces arranged on top of the board. Using Adobe Photoshop, I merged these photographs together and erased the background to create the depth perception optical illusion.
Gradient Illusion Depth perception illusion research
Of the colour perception illusions I have researched, I decided to recreate this one in particular due to the fascinating way in which the colour of the oblong appears to be a gradient where in actuality it is a solid colour. For my photographic recreation of this image I took a photo of a metal bar on the side of a desk that was of a similar colour to the oblong in the original illusion. I then cut the section I needed out of the image and pasted it on top of a gradient background which enabled me to edit the brightness and contrast of the bar until it was suitable to portray the illusion. I decided against giving the image a photographic background due to the limits of what is achievable without breaking the illusion. As the bar edges of the bar were not included I decided to add a bevel to give it a more three dimensional appearance, I also added a drop shadow.
Using the gradient illusion in my own work To the right is an example of how I have recreated the gradient illusion though my own photography. Although I had originally planned to use a photographic background for this image, I realised that the illusion would be far more apparent if I removed the background and filled it with a black to grey gradient.
Original inspiration
Stairs Illusions Depth perception illusion research
Researching stairs illusions Stairs are a prominent feature of images which feature optical illusions and there are many different styles of photographs which feature stairs illusions. To the right is an example of an optical illusion in which the stairs are in a continuous loop.
Creating my own illusion To the left is an example of how I have created an illusion using stairs in my own photography work. I took two photographs; one of the view looking down, from the top of a staircase and the other looking up from the bottom of a staircase. I then merged the section of the second image that shows the door into the original image via Adobe Photoshop to create a sense of deception and ambiguity.
The Necker Cube Depth perception illusion research
Researching the Necker Cube The Necker cube is an example of what is known as an “impossible object�. Although these objects can be created in real life, they must be viewed from a specific angle to present the depth perception illusion. In photography, impossible shapes can be created through the use of photograph manipulation, I intend to use this method in my own work.
The Penrose Triangle Depth perception illusion research
Researching the Penrose triangle Another “impossible object”, the Penrose triangle (also known as the Penrose tribar) was created by Swedish artist Oscar Reutersvard and later popularised by the mathematician Roger Penrose in 1939 who dubbed it “impossibility in itʼs purest form”. Esher features the triangle prominently in his work. The shape features three sides which, to be created in real life, do not connect. If viewed from a specific angle the sides align to form what seems to be a triangle.
Using the Penrose triangle in my own work To the left is an example of how I have taken the Penrose triangle concept and applied it to my own photography. I decided that I wanted to use the Penrose triangle illusion, however, realising it did not have to be completed using straight edges, I instead used dice to create the illusion. To start with I found a surface which would be low enough for a high angle shot and stacked four dice on top of each other in a column and four in a row from the base of the bottom dice. Using a tripod, I positioned the camera at the correct angle for achieving the illusion and took the first photograph. I then removed the stack of dice and placed them at a right angle to the remaining horizontal dice and took another photograph from the same position. Afterwards I imported both photographs into Adobe Photoshop and merged them together through use of the multiply filter. I then used the eraser tool to remove the left edge of the top dice so that the illusion looked believable.
Erik Johansson Photographer research and analysis
Johansson始s work on photograph manipulation includes some noteworthy examples of recreating optical illusions using photography. His re-imagining of well-known Escher paintings in addition to original examples of optical illusion show how depth perception illusion can work seamlessly in photographic form. The manipulation of photographs by Erik Johansson provides some noteworthy examples of the recreation of optical illusions in photography. The realism that is created from the use of actual subjects, models and environments contrasts greatly with the illusion aspect of the images, evoking a surreal tone. Johansson始s prolific usage of impossible objects in his images often feature figures interacting with the scene, this adds Johansson often uses a cloudy sky as a backdrop to his photographic work, this could be to mirror the indecisiveness and doubt that is associated with optical illusions.
Analysis 1 In this photograph Johansson employs the same depth perception illusion technique that I explored previously with the manipulation of my chessboard photograph. Through the distortion of the wood panels in the centre of the photograph it can either be perceived as the floor of the room in the above section of the image, or the ceiling of the room in the bottom section of the image. To create this optical illusion Johansson has taken two photographs of the room from different angles and merged the two together into a singular image, the placement of the window is beneficial to the position of the light source as it seems that the light could be coming from either window.
Analysis 2 Johansson has taken the concept of the Penrose triangle and applied it to an instantly recognisable object; the lego brick, to give a unique and creative interpretation of the depth perception illusion. In this pairing, an effect of believability is created as the illusion made with the use of tangible objects brings into question the reality of what is being seen. The photographer makes use of high key studio lighting to create a minimalistic atmosphere, the highly exposed image also adds a diversity of colour tones to the otherwise basic yellow bricks. By incorporating the five scattered bricks, additional focal points are given to the viewer, they also compliment the main part of the image by giving it situational context.
Jesús González Rodríguez Photographer research and analysis
Researching Rodriguezʼs technique Jesús González Rodríguez takes portraiture photographs and manipulates sections of the modelʼs face with the use of image editing software in such a way that the eye can interpret the image as facing forwards or to the side. This unique style of photography creates what appear to be silhouettes. The photograph is edited using an eraser tool to cut away around half of the face, sections of shadow are added in to give the image depth.
Using Rodriguez始s technique in my own work To the left is an example of an image I have created in the style of Rodriguez始s work. I organised a photo-shoot, using the studio and took several portraiture photographs at high exposure. After I had taken the photographs, I imported them into Adobe Photoshop and erased half of the photograph in a style that makes the subject appear to be facing sideways. I later added a shadow and increased the contrast to create the illusion of three dimensions.
Face/Vase illusion research and analysis
This illusion is based on colour perception. Depending on the perspective of the viewer this image can either be a singular vase or a pair of faces looking inwards at each other. Because the image requires symmetry in order for the vase effect to work I decided that my original plan of taking a photograph of two different people facing each other wouldn始t be as effective as if I took a single photograph of one person始s face and then mirrored it in photoshop. After doing this, the next step I took was filling the background in with solid black to contrast the colour of the faces, much as the original image does. I rejected the idea of filling the faces in with white because the three-dimensional aspect of the photograph is the main element that differentiates it from the original image.