Brainstorming

Developing My Vision

I plan to emphasize the solemn solitude peculiarity of industrial style by using a sharp focus and focusing on the shapes, patterns, and tones of the photographs (similar to straight photography, but in black and white). My target will mainly be industrial architecture taken during the trip to 798.

Statement of Intent

The message of my triptych will be to respect and preserve obsolete industrial architecture. I want the audience to appreciate the solemn solitude peculiarity, and greatness of these structures and buildings when looking at my presentation. For inspiration, I will try to find a photographer who explores industrial buildings and finds photographs that explore shapes, patterns, and tones with sharp focus. I’m obsessed with realistic and straight photography, so I try to adhere my style to these types of photography.

Photography Artist & Photo Gallery: Albert Renger-Petzsch

Albert Renger-Patzsch was a prominent and intriguing German photographer whose career spanned decades and continents. But when I looked through a series of his images, displaying anything from still life to flowers, each focusing on the industrial era differently, it stayed with me and my thoughts. They convey a story of a specific time and place, reflecting Renger Patzsch’s leanings toward documentary photography and the time period in which they were taken.

For example, in the first photo, the railway symbolizes industry. However, it is shown uniquely in this artwork. Instead of a train in motion or even the train tracks, the focus here is on the railway embankment, photographed from below and looking up. This perspective is highly effective since it conveys the magnitude of the embankment, which may have been a mirror of industry in general during the 1920s. This is emphasized further by the presence of a small figure near the center of the image. This figure, whose details are obscured by distance and shadows, highlights how little man is compared to some of the time’s industrial endeavors. In this image, Renger-Patzsch uses dark, light, and shades to significant effect. The arches of the railway create striking shapes, and the fact that they get smaller from left to right helps to give the photo a sense of depth and distance.

With inspiration from Albert Renger-Petzsch, I noticed that one option is to use the effect of tones, lines, and patterns, if possible, to create a contrast or a sense of depth to display the solemn solitude peculiarity.

Yellow Photos

I selected these 59 photos as “Yellow Photos” because these are all the ones I shot toward industrial architecture from a unique angle that used lines and shapes to create a sense of depth. I turned these photos into black and white to match Albert Renger-Petzsch’s style and emphasize the solemnness and greatness of the industrial structures, matching my statement of intent.

Green Photos

I chose these 10 photos as my green ones because they have a wide dynamic range, which made it possible to create contrast, as mentioned in my inspiration from Albert Renger-Patzsch. It also matches the purpose of my final presentation, which is to emphasize the solemn solitude style.

Red Photos

I chose these three as my red photos, matching my intent and vision. They have wide dynamic ranges in black and white, displaying the solemn industrial style. The first and third photographs were shot at the same target but from different angles, as implied by the time taken. Moreover, all the photos have a hard, solid, and cold (if you touch them) texture, which enhances the solemn solitude peculiarity. This can be an option for my final triptych as I cropped them into the same size, and they convey similar messages and emotions.

1. Starting Point

“Abstract photography can be defined as capturing images in which the subject isn’t the most interesting element. Albert Renger-Patzsch and Aaron Siskind photographed the ordinary to reveal their beauty. Uta Barth reversed the typical use of the camera, shooting out of focus and Andreas Gursky photographs the repetition of elements. During this unit, you will investigate appropriate examples of abstract photography and respond in your own way.”

Initial Thoughts

In abstract photographs, the subject doesn’t have to stand out. This means that the subject does not necessarily build a connection with the real world automatically. It can be anything around your daily events.

2. Definition of Abstraction

Abstract photography comprises images created with photography materials and equipment that have no direct connection to the physical world. Abstract photographers use perspective, movement, and light to create unexpected, often unrecognizable images from the world around them.

3. Researching the Starting Point

Pictorial Photography

Summary

In the early 1900s, photography began to be understood and valued as an art form with advancements in technology and production techniques utilized by photographers. Because of its intended parallels to popular painting techniques of the period, pictorialist photography was the first photographic approach that was regarded as an art form by the public and critics. This approach was later called the pictorialism movement.

Style

Pictorialists believed photography should be regarded as a form of personal expression on par with other fine arts. A pictorial photograph typically lacks sharp focus (some more than others), is printed in one or more colors other than black-and-white (ranging from warm brown to deep blue), and may have visible brush strokes or other surface manipulation.

Masterpieces

“The Pond—Moonlight” by Edward Steichen

“Photography records the gamut of feelings written on the human face, the beauty of the earth and skies that man has inherited, and the wealth and confusion man has created. It is a major force in explaining man to man.”

This photograph’s subject matter, color palette, and poetic atmosphere are reminiscent of Tonalist paintings. The hazy effect, muted foreground, and lack of distinction between reality and reflection create a dream-like appearance to the image.

Influence

The movement resulted in significant innovation in the photography field, with many photographers associated with it developing new techniques to further their artistic vision. This paved the way for subsequent advances in color photography and other technical processes. Pictorialism declined around 1915 as key advocates, such as Stieglitz and Steichen, turned to other visual modes, notably Straight Photography. Steichen’s work influenced the next generation of Pictorialists, including Edward Weston and Imogen Cunningham, though they also followed in his footsteps by experimenting with other photography styles.

Straight Photography

Summary

Straight photography emphasizes and engages with the camera’s technical capability to produce sharp and detailed images. The term generally refers to photographs that are not manipulated, either during the taking of the image or through darkroom or digital processes, but instead sharply depict the scene or subject as seen by the camera. Straight photography is more “straightforward” and realistic than pictorial photography.

Style

For the first time since photography’s inception, straight photography respects the medium’s own technical visual language. Form, sharp focus, rich detail, high contrast, and rich tonalities are among the camera’s distinctive vocabulary. Because both terms describe the camera’s ability to faithfully reproduce an image of reality, straight and pure photography are synonymous.

Masterpieces

“Monolith, the Face of Half Dome” by Ansel Adams

“The photographer visualizes his conception of the subject as presented in the final print. He expresses his visualization through his technique – aesthetic, intellectual, and mechanical.”

Adam’s career was launched by his photograph of Half Dome, a landmark in Yosemite National Park in California. At its lower left and lower right, this shaped granite rock formation is captured as a dark, imposing monolith rising to a distant peak against a dark sky and snowy landscape.

Influence

Straight photography, defined by a pure approach to the medium, was used in all fields and styles of photography, ranging from avant-garde photography to documentary and street photography to abstract photography. The approach was adapted by each photographic style to emphasize its own treatment of form, sensory experience, or changes in the social and cultural environment. For example, during the Great Depression, Walker Evan’s famous image, Allie Mae Burroughs, wife of a cotton sharecropper, Hale County, Alabama (1936), highlighted the plight of poor sharecroppers and the need for social reform.

4. Elements Described

Formal Elements

Formal elements are visual elements that, when used correctly, have the potential to transform ordinary subjects into great shots. These formal elements are commonly known as:

• Line
• Shape
• Repetition/Pattern
• Texture
• Value/Tone
• Focus

Paying attention to the formal elements will help you organize your compositions and emphasize the most important aspects of the shot.

Line

Lines in photography, like points in geometry, do not have the same strict definition. A line is defined in photography as a path that either cuts across the frame or connects two points within it. Two examples of such features are a winding road or a ridge of jagged mountains. In the photo I took in the garden of the Huntington Library, there are straight lines created by the frame, the pillars, the pathway, and the shadow of the frame, all converging to one point – the end of the path. These lines are called leading lines, a compositional technique in which man-made or natural lines guide the viewer’s gaze through a photograph to the subject or heart of the image. The point the lines are gathering to is called the focal point. An image can also have more than one focal point, as shown in the photo taken at Apple Headquarters: the lines of the floor and walls converge to the right, whereas the lines of the table and shadows point to the left.

Shape

A shape is a graphical representation of an object’s external boundary, outline, or surface. This photo taken at an art museum shows the ceiling of a circular building, including circles, quadrilaterals, and hexagons. These shapes are surrounded by one another, which also creates a pattern, which is discussed below.

Repetition/Pattern

Patterns are shapes and textures that are repeated in a rhythmic arrangement. A geometric pattern is made up of geometric shapes that are typically repeated, much like a wallpaper design. The photo taken at the Olympic Park shows the curvy and repeating oval shape of the petals and the straight-edged diamond shape of the seeds. The oval petals overlap, creating different layers for the photo. The diamond-shaped seeds are arranged so excitingly that the space between each other forms curvy lines that intersect, making a sense of illusion.

Texture

The perceived surface quality of an artwork is referred to as texture in the visual arts. It is a component that can be found in two- and three-dimensional designs, characterized by its physical and aesthetic qualities. This photo’s curviness and furry elements create a soft and warm texture.

Value/Tone

The lightness or darkness of an object determines its tone. Value, also called tone, is one of the most potent design components. In any painting, photograph, or design, the area with the greatest contrast between light and dark will always demand the most attention. In this photo I took in the church of Stanford University, most of the parts are dark, except for the space close to the platform. This emphasizes the platform and grabs viewers’ attention.

Focus

In photography, focus refers to the process of adjusting the lens to find the subject’s best possible resolution, sharpness, and contrast. You can do this using manual focus or your camera’s autofocus system. In this photo, the camera focuses on the cat as the main subject, and the background, such as the Ravenclaw pillow, is blurred. This also makes the main subject stand out by making it sharp and contrasting the background.

Can an Image Show Just One Element at a Time?

The answer is no. For instance, the photo of the sunflower shows both the shape and pattern, as the definitions of these two elements overlap. The pattern is the repetition of shapes, so in order to have a pattern, the image must contain elements of shapes. Another example is the photo of the cat rolled up in a circle. The warm and soft texture can’t be created without the curvy lines. Therefore, some elements of photography are inseparably interconnected, making it impossible to show just one element at a time.

It is discussed that the photo of the church taken at Stanford University shows the element of tone. However, there are also lines hidden in the image, such as the line formed by the pathway, windows, seats, and ceiling, which gathers at the focal point, the platform. Elements such as lines are too common in photos, which makes it challenging to take a picture without these features. This is also why an image can not show just one element at a time.

5. Elements – Photo Example

“Beaker” by Albert Renger-Patzch

This photograph was created as part of a commission for Jenaer Glaswerke Schott, for whom he photographed several sets of laboratory objects in glass (recipients, flasks, tubes, jars). In this image, Renger-Patzsch arranges eight glass beakers on a reflecting surface, each with the same cylindrical shape but varying dimensions, and photographs them from a slightly elevated angle. The larger items are positioned in the back. The objects overlap. The base’s mirroring effect gives the impression that the glassware is floating, especially in the center of the image, where the smaller cylinder (on which the manufacturer’s logo can be read) is the focal point. The photograph has a smooth, firm, and cool texture, just like the texture of regular glass. The objects create a choreography of light, shadows, and reflections due to their simple, standardized shape and transparency, an experiment with the possibilities of looking at objects and reconfiguring their shapes.

The photographer Albert Renger-Patzch might be interested in capturing the overlapping cylindrical shape and their shadows, creating a sense of space. He might also be interested in the reflection of the light on the beaker. This adds brightness to the image, contrasting the mostly dark and grey background and making the shape more tri-dimensional. Another factor that may intrigue Albert Renger-Patzch is the balance of the scene by carefully arranging the eight beakers. The height of the beakers is lower on the sides and taller in the middle. If I had to give this photograph another title, I would name it “Glassware” because it is just as concise and evident as the photo itself, showing nothing other than beakers (glassware).

6. Photo Safari

This photo corresponds to the first image in the picture set. It was shot at the wall outside of the photography classroom but rotated 90 degrees counter-clockwise. The tone is the element best represented in this photo. The left half is dark and the right half is bright, creating a contrast. I did well capturing the tone and the arrangement of the dark and bright sides. One thing I didn’t do so well is I edited the photo on my phone so the whole image looked a little blurry.

 

This photo corresponds to the second image in the picture set. It was shot at a light switch outside the elementary theater. The shape is the element best represented in this photo. A square is positioned at the top right, and the rest of the photo are negative spaces. I did well capturing the position of the square. One thing I didn’t do so well is there are other rectangles and a circle inside the light switch, which act as a distraction from the larger square.

 

This photo corresponds to the third image in the example. It was shot at the field outside gym 3. The texture is the element best represented in this photo. I did pretty well capturing the rough and “furry” texture demonstrated in the picture provided.

 

This photo corresponds to the fourth image in the picture set. It was shot at the air conditioner outside of gym 3. The pattern is the element best represented in this photo. I did pretty well capturing the repetition of rectangles. One thing I didn’t do so well is that the border of the rectangles is unclear because the borders are created by the shadows, but this was the best I could find apart from the stairs.

 

This photo corresponds to the fifth image in the picture set. It was shot opposite the air conditioner. The line is the element best represented in this photo. Two straight and vertical lines divide the image into three segments. I did pretty well capturing the divisions, except for the background is a little messy and distracting.

 

This photo corresponds to the sixth image in the picture set. It was shot at the stadium. The shape is the element best represented in this photo. I did pretty well capturing the circle at the center of the composition. Some may say there is too much negative space in this image, but this was caused by the difference in the width between the two pictures.

 

This photo corresponds to the seventh image in the picture set. It was shot at the high school library. The line is the element best represented in this photo, with three lines dividing the picture into six parts. I did pretty well capturing the position of the lines. However, the photo is underexposed and the background is very distractive.

 

This photo corresponds to the eighth image in the picture set. It was shot in the elementary playground. The pattern is the element best represented in this photo. I believe that I did well in capturing the repetition of the circular shapes. These circles are not that obvious, but when you search for a pattern in this photo, it quickly stands out, making this my favorite photo in this safari.

 

This photo corresponds to the ninth image in the picture set. It was shot at the discus net in the stadium. The pattern is the element best represented in this photo. I captured the repetition of the squares correctly. However, the background is distracting.

 

This photo corresponds to the tenth image in the picture set. It was shot in the same place as the first picture. The line is the element best represented in this photo. I took this photo by slightly adjusting the angle of the camera, with the left closer to the wall, stretching the line further to the right so it becomes thinner.

 

This photo corresponds to the eleventh image in the picture set. It was shot at the track in the stadium. The line is the element best represented in this photo. I did well capturing the convergence of the line at the focal point. One thing I didn’t do so well is the color of the background because it makes this photo look not horizontal to the ground.

 

This photo corresponds to the twelfth image in the picture set. It was shot outside gym 3 against the floor. The texture is the element best represented in this photo. I did well capturing the rough and hard surface. One thing I didn’t do so well is I left a shadow on the ground when I was taking the photo so there is a dark region.

 

Works Cited

“Focus: Understanding the 7 Formal Elements of Photography.” Picfair.com, 2023, focus.picfair.com/articles/7-formal-elements-photography. Accessed 17 Sept. 2023.

https://www.facebook.com/vogueballroom. “Vogue Ballroom – Wedding Reception & Function Venue Melbourne.” Vogue Ballroom – Wedding Reception & Function Venue Melbourne, 2023, vogueballroom.com.au/what-are-the-seven-elements-of-photography/. Accessed 18 Sept. 2023.

“Pictorialism Movement Overview.” The Art Story, The Art Story, 2014, www.theartstory.org/movement/pictorialism/. Accessed 18 Sept. 2023.

“Straight Photography Movement Overview.” The Art Story, The Art Story, 2015, www.theartstory.org/movement/straight-photography/. Accessed 18 Sept. 2023.

 

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