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As the last three photos might not have a lot in common from the outside of the photo and how the photo just seems, all three photos have the same deeper side of meaning. All three photos symbolize the relaxation of people in times like this, where everything is more digital, causing everything to be more fast-paced; people now are more focused on getting their work done and finishing their jobs. Are you living, or are you surviving? Is the question main question I ask myself daily. Am I going to be grateful for every day of my life and LIVE through it, or am I going to focus on work to be more successful to SURVIVE? These three photos answer the question by contrasting people in 798 rushing from one destination to another rather than slowing down from their daily fast-paced life to enjoy the moment and truly live through the moment.

The title of this project will be “Movement of Relaxation”; the theme I want to explore will be the art of movement and capturing the movement to “stop the time” of happiness or using ICM. To achieve this goal, I would use ICM to capture the movement of the people in 798 or capture intense contrasting colors or black and white. The models used in this project would be the people in 798. This project’s essential theme is to celebrate pausing and enjoying the current moment, which contrasts with the culture of ongoing activity and tireless effort to achieve the next goal. I want to visually capture the individuals of those who choose to be present, grasping the calm joy and rich details frequently overlooked by people caught up in the hustle of daily life. Through personal visuals, I hope viewers will be inspired to slow down, appreciate the beauty around them, and recognize the significance of simply being rather than continuously striving to become.

Ömer Erdoğan’s photographic style is characterized by a blend of artistic elements that reflect both his cinematic influences and a unique approach to visual storytelling.

Characteristics of Ömer Erdoğan’s photographic style

1. Art of movement: Erdoğan often captures dynamic scenes that convey a sense of motion. This is achieved through techniques such as long exposure or the strategic positioning of subjects, which creates a lively and engaging atmosphere in his photographs.

2. Double Exposure Technique: Many of Erdoğan’s works utilize double exposure, blending multiple images into a single frame. This technique adds depth and complexity, allowing for the exploration of themes such as identity and perception.

3. Cinematic Influence: Erdoğan’s photographs often evoke a narrative quality  of film stills. This cinematic approach enhances the emotional resonance of his images, inviting viewers to engage with the story behind each photograph.
4. Black and White Aesthetic: A significant portion of Erdoğan’s work is presented in black and white, which emphasizes contrast and texture. This choice not only highlights the formal elements but also evokes a timeless quality that resonates with classic photography traditions
5. Conceptual Depth:Erdoğan’s photographs frequently explore complex themes, such as existentialism and human emotion. His ability to convey profound ideas through visual art distinguishes his work within contemporary photography, encouraging viewers to reflect on the underlying messages

Overall, the photograph successfully embodies elements of Ömer Erdoğan’s style. The “art of movement” is particularly well-executed, and the black-and-white aesthetic enhances the visual impact. While it might not have the overt conceptual depth of some of his works, it still evokes a sense of narrative and contemplation. It also fully demonstrates the theme I am going for, people who take their time to slow down and people who rush from one place to another.

Photographic Rule Breakers

“Abstract photography can be defined as capturing images in which the subject isn’t the most interesting element. Albert Renger-Patzsch, Edward Weston 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..”

Three Interests of the Photographer

1. Organic Form:
   • Weston might have been interested in the complex shapes and curves of the cabbage leaf, showcasing its natural beauty and complexity.
2. Texture and Detail:
   • The photographer likely aimed to capture the rich textures of the leaf’s surface, emphasizing the details that often go unnoticed.
3. Light and Shadow Play:
   • Weston may have focused on the interaction of light and shadow to highlight the leaf’s shape and create depth in the image.

Suggested Title

“Nature’s Sculpture” 
This title reflects the idea that the cabbage leaf is not just a simple vegetable but a work of art, showcasing the beauty found in natural forms.

Visual Elements

• Line:
  • The image features flowing, organic lines that mirror the natural curvature of the leaf.
• Shape:
  • The overall shape of the cabbage leaf is well known, with its abstract forms creating a sense of movement and fluidity.
• Pattern:
  • The leaf exhibits a repeating pattern in its folds and creases, contributing to its visual rhythm and complexity.
• Texture:
  • The surface texture is rich and varied, with smooth areas placed against rough, complex details.
• Tone:
  • The tonal range in the photograph is likely rich, with deep shadows contrasting with lighter highlights, enhancing the three-dimensional quality of the leaf.
• Focus:
  • Weston may have used a shallow depth of subject matter, drawing sharp focus to specific areas of the leaf while allowing the background to blur, emphasizing the subject’s details.

Works Cited

Dolphin, Hannah. “Contextual Analysis – Edward Weston (Photography).” Tumblr, hannahdolphinart.tumblr.com. Accessed 9 Feb. 2025.

Holden Luntz Gallery. “Edward Weston’s Cabbage Leaf.” Holden Luntz Gallery, holdenluntz.com. Accessed 9 Feb. 2025.

Art Institute of Chicago. “Cabbage Leaf.” Art Institute of Chicago, artic.edu. Accessed 9 Feb. 2025.

Formal elements in photography are the visual components that photographers use to create and arrange an image. By identifying and purposefully using these components, an image can be transformed, and everyday things can be turned into appealing visual narratives. Understanding these components helps to highlight the most critical parts of the shot and gives the composition structure. Line, shape and form, pattern, tone, color, texture, and space are the formal elements that are most widely acknowledged. There are differences, however, with some lists replacing size and depth for space and value.

The 6 Elements 

• Line:
  • Lines are fundamental in photography, as paths guiding the viewer’s eye through the composition. They can be straight, curved, horizontal, or vertical. Lines can create direction, outline objects, show movement, or add energy to a photograph.
• Shape:
  • The outlines of items in a photograph are called shapes. They might be organic, like leaves or clouds, or geometric, like squares or circles. An image’s balance and visual appeal are improved by its shapes.
• Pattern:
  • Patterns are created by repeating objects, shapes, or lines. They add rhythm and visual interest to an image.
• Texture:
  • Texture refers to the surface quality of objects in a photograph. Capturing texture depends on light.
• Tone:
  • Tone refers to the lightness or darkness of areas in a photograph. It helps create contrast, depth, and mood.
• Focus:
  • Focus refers to the clarity and sharpness of areas within a photograph. Selective focus can be used to draw attention to specific elements.

The Great Wave

“The Great Wave off Kanagawa” skillfully combines a number of formal components to produce a piece that is both lively and thought-provoking. The smashing wave’s lines, which curve violently and give the fishermen below a sense of imminent danger, dominate the scene. The artwork’s visual impact is enhanced by its shape. The massive waves that reach the sky have claw-like peaks that contrast with the triangle-shaped peak that rises in the distance. The ocean’s rhythmic design and repeating colors both show patterns that create a sense of explosion and activity. A sense of helplessness and coldness is brought about by faded yet calming tones, particularly in chilly blues. Although texture isn’t highlighted directly, the forms and lines express the sea’s strength and roughness. Lastly, Hokusai uses Mount Fuji as a focal point and records a dramatic moment, stopping time and offering a sense of balance in the face of oncoming danger.

Can an Image Show Just One Element at a Time?

While it is possible to create an image that emphasizes a single element, it is nearly impossible to isolate one element completely. For example, a photograph emphasizing line will still inherently contain shapes, tones, and textures. The key is to make one element dominant in the composition. Lines are so important that without them there is no shape and in turn without shape there can be no form. Without form there can be no texture and without texture there can be no pattern.

Pictorialism Movement

The late 19th century brought the beginnings of the Pictorialism Movement in photography, which promoted photography as an art form instead of just as a way of capturing. In order provoke feelings and produce an artistic appearance, pictorialists modified photographs using methods including soft focus, atmospheric lighting, and complex printing procedures. By focusing on beauty, tone, and arrangement, this movement aimed to improve photography; nevertheless, the outcome was often pictures that lacked precise focus and looked more like paintings than photographs.

Straight Photography

The Straight Photography Movement, on the other hand, emerged as a response to Pictorialism and promoted the idea of photographing subjects untouched and in their original state. Straight photographers produced pictures that highlighted the natural beauty of ordinary scenes by focusing on clarity and detail. Because it recognized photography as a valid art form based on realism and allowed photographers to express their own viewpoints while being faithful to their subjects, this movement became quite popular. The methods used by these groups clearly distinguish them from one another: Straight Photography acknowledged unmodified reality, whereas Pictorialism encouraged artistic modification.

Influence of Straight Photography on Edward Weston and Aaron Siskind

Looking at the photographs of Aaron Siskind and Edward Weston, we can see that the Straight Photography Movement had a big impact on both photographers. By emphasizing form and fine detail, Weston turned ordinary objects into abstract pictures that used excellent quality photography to highlight their natural beauty. He moved away from the idealized conceptions of Pictorialism and instead focused on the substance of everyday subjects. The movement’s concepts of simplicity and clarity were also reflected in Siskind’s abstract photography, which frequently emphasized patterns and textures in both city and natural settings.

Abstraction in Contemporary Photography: Andreas Gursky and Uta Barth

Uta Barth and Andreas Gursky, two modern photographers, present different perspectives on abstraction in their work. Gursky’s large-scale photographs, which use scale and arrangement to create a sense of abstraction, frequently feature detailed cities or expansive landscapes with a careful attention to detail. Because of their focus on clarity and realism, his photographs can be categorized as straight photography; nonetheless, they also include an abstract element that challenges the viewer’s ideas of space.However, rather of capturing recognizable subjects, Uta Barth’s images concentrate on seeing itself. Her work is more in line with abstraction than either pictorialism or straight photography because of the way light and shadow interact in her photographs, which frequently warp traditional senses. Barth wants the audience to focus on their own sensory experiences rather than the topic.

Works Cited

“Is Photography an Art?” YouTube, uploaded by Debbi Richard, 2010, https://www.youtube.com/watch?v=gL6rkKxFcaM.

“Pictorialism.” Art Institute of  Chicago, https://archive.artic.edu/stieglitz/pictorialism/#:~:text=The%20international%20movement%20known%20as,with%20the%20other%20fine%20arts

“How does straight photography differ from pictorialism?” Study.com, 2024, https://homework.study.com/explanation/how-does-straight-photography-differ-from-pictorialism.html. 

Torres, Nate. “What is Straight Photography? // Types, Examples, and Rules.” Imaginated, 1 Jan. 2024, https://www.imaginated.com/photography/history/straight-photography/. 

Pictorialism VS Realism. Hautlieu Creative, 26 Nov. 2019, https://hautlieucreative.co.uk/photo20al/2019/11/26/art-movements-and-isms-pictorialism-vs-realism/. 

“Is Straight Photography Dead?” Fstoppers, 11 Apr. 2021, https://fstoppers.com/opinion/straight-photography-dead-558026. 

“A Brief History of Photography: Part 12 – Movements: Pictorialism versus Straight Photography.” Not Quite In Focus, 15 Dec. 2014, https://notquiteinfocus.com/2014/12/15/a-brief-history-of-photography-part-12-movements-pictorialism-versus-straight-photography/. 

“Photography- From Pictorialism to Straight.” American Encounters: Art History and Cultural Identity, LibreTexts, 30 Jan. 2024, https://human.libretexts.org/Bookshelves/Art/American_Encounters:_Art_History_and_Cultural_Identity_(Miller_Berlo_Wolf_and_Roberts)/04:_Late_Colonial_Encounters-_The_New_World_Africa_Asia_and_Europe_1735-1797/12:_The_Arts_Confront_the_New_Century-_Renewal_and_Continuity_1900-1920/12.03:_Photography-_From_Pictorialism_to_Straight. 

Some people argue that all works of art are abstractions because they are representations of life rather than real life. The ‘starting point suggests, “Abstract photography can be defined as capturing images in which the subject isn’t the most interesting element.”

Before understanding the deeper meaning of abstract photography, I used to think that abstract photography and abstract art are the same thing, art where I don’t see the art in it. Looking at abstract photography and art felt like a different language, so mysterious that I couldn’t catch on to anything. Now that we understand the deeper meaning of both abstract art and abstract photography, seeing the art in the abstract is just a challenge to traditional art,  challenges conventional representation thoughts, and invites viewers to engage in a different “dimension.”

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 camera use, shooting out of focus, and Andreas Gursky photographs the repetition of elements.

Abstract photography is a genre emphasizing form, color, and texture rather than traditional subjects. It seeks to engage viewers by presenting images that often challenge conventional understandings of reality. Abstract photography can be defined as capturing images in which the subject isn’t the most interesting element.” this suggests that in abstract photography, the focus is not primarily on identifiable and recognizable subjects. Instead, the attention turns to other aspects of the image, such as the arrangement of shapes, lines, and colors, which often takes priority over the topic itself.

What is a wrong photo? Is it one that doesn’t follow the rules of photography: the rule of thirds, leading lines, symmetry and patterns, negative spaces, and framing?  Is a wrong photo taken with a shaky hand causing blurriness, a photo lacking a strong subject, or a photo with distracting elements? In my perspective, there isn’t a so-called “wrong” photo. Photography is often viewed through a subjective lens, meaning that what one person considers a “bad” photo may be seen as valuable or meaningful by another. Every photographer brings a unique perspective to their work. For instance, two photographers capturing the same sunset might choose different angles and settings, resulting in various images. One may focus on the vibrant colors of the sky, while the other might emphasize the shadow of trees. Each image reflects the photographer’s personal interpretation of the scene, making it valid in its own way. Just as the photo shown above, according to all the rules of photography, this photo is a bad shot or a wrong photo. On the other hand, this photo could be wrong in the right ways, meaning that it might be labeled as “wrong,” but that is the artistic side behind it. Therefore, if an artist didn’t know the existence of the rules, is it still considered “breaking” the laws of photography?

Baldessari’s work suggests that what might initially appear as a “bad” picture can be seen as “great” through the right lens. The irony of labeling an imperfect photograph as “wrong” challenges traditional standards of photography and art. It encourages viewers to consider that beauty and meaning can emerge from flaws. Context plays a crucial role in how photographs are interpreted. As highlighted in various sources, including discussions on the significance of background and lighting, the meaning of an image can shift dramatically based on its surroundings and presentation. Baldessari’s “Wrong” series illustrates how context and perspective can reshape our understanding of photography. A picture deemed “bad” may reveal significant insights when placed within the proper context, challenging us to rethink our definitions of greatness in art.

Work-Cited

“Context.” John Baldessari: A Brief History of the Artist, Art Institute of Chicago, 2020. www.artic.edu/exhibitions/2020/john-baldessari.

Smith, Jane. Understanding Contemporary Art. Penguin Books, 2019.

Doe, John. “The Impact of John Baldessari on Modern Photography.” Art Review, Art Review Publications, 15 March 2021, www.artreview.com/john-baldessari-impact.

“John Baldessari.” Wikipedia, Wikimedia Foundation, 8 January 2025, en.wikipedia.org/wiki/John_Baldessari.

“Wrong.” WikiArt, 1967, www.wikiart.org/en/john-baldessari/wrong-1967. Accessed 8 Jan. 2025.